LIBRARY OF CONGRESS. 



UNITED STATES OF AMERICA. 



MAN UAL 



BRACHYGRAPHY: 



System of Short-Hand Writing, founded 

upon the Vowel Sounds' of the 

English Language. 



e A 



1^ JOHN T. PORTER, 



STENOGRAPH Eli. 









tfl/.A. 



r 



PITTSBURGH; 
Printed by Jos. Eichbaum & Co., No. 48 Fifth. Avenue. 

1881. 



Entered according to Act of Congress, in the year 1880, by 

John T. Porter, 
111 the office of the Librarian of Congress, at Washington. 



5? 



CONTENTS. 



Preface, . . . . 

Basis of Short-Hand, .... 

General Remarks on Study of Short-Hand 

The English Vowel System, 

The Vowel System, 

Table of Vowels, 

Definitions, . . • . 

Vowels and Combinations, 

Transposition of the Vowel 

Exercise I, . 

Phonic Exercise I, . 

For d add^d — the halving proces 

Transposition, . . . 

Exercise II, 

Phonic Exercise II, 

Exercise III, 

Initial IT Hook, 

Phonic Exercise III, . 

Exercise IV, . 

Initial R Hook, . 

Phonic Exercise IV, 

Exercise V, . 

Initial F and V Hooks, . 

Phonic Exercise V, 

The FHook, . 

Exercise VI, 

Initial L Hook, 

Phonic Exercise VI, . 

Exercise VII, . 

The S or Z Circle— Initial and 

Phonic Exercise VII, 

Exercise VIII, ...... 

Initial and Final .S' Circle — Transposition of the 

Phonic Exercise VIII, 

Exercise IX, . 

Initial Double Consonants si, spl, sh and shr, 

Phonic Exercise IX, 

Exercise X, ...... 

Initial Double and Triple Consonants sp, spr, si 
Phonic Exercise X, . . 



Fin 



veh 



and str. 



1'age 
5 



14 
20 
35 
35 
38 
39 
43 
45 
47 
49 
51 
53 
55 
57 
57 
59 
61 
61 
63 
65 
65 
67 
68 
71 
71 
73 
75 
75 
77 
79 
79 
81 
83 
83 
85 
89 
89 
91 



CONTENTS. 



Exercise XI, . . . . . 

Initial Double arid Triple Consonants ye/t t tfir, ak and skt 

Phonic Exercise XI, .... 

Exercise XII, . . . . . 

Initial Double and Triple Consonants sw and slew] 

Phonic Exercise XI T, 

Exercise XIII 

Initial Double Consonants fr and.//, 
Phonic Exercise XIII, . 

Exercise XIV, 

Initial Double Consonants kr and qr {gay- 

Phonic Exercise XIV, 

Exercise XV. .... .... 

Initial Double Consonants Id and gl (gay-l) 9 

Phonic Exercise XV, 

Exercise XVI, ......... 

Initial Double Consonants pr\ bi\ tr and dr. 

Phonic Exercise XVI, 

Exercise XVII, 

Initial Double Consonants pl y hi, and final n, ns, and the 
termination tion, ....... 

Phonic Exercise XVII, 

Exercise XVIII * . 

Final f Hook and Curve, 

Phonic Exercise XVIII, 

Exercise XIX, . 

Pinal Consonants r and I, 

Exercise XX, ......... 

Final Syllable ish, 

Exercise XXI, . . . . . 

Final st and str, ......... 

Exercise XXII, . • . . . . . 

Aspirate Sound of h, . 

Exercise XXIII 

Prefixes and Suffixes, . . . . . . . 

Semi- Vowels, . . . . . . 

The Indefinite Vowel, . . 

Final five .......... 

Exercise XXIV, 

Method of Representing other Single and Double Consona 

Exercise XXV, . . 

Lengthened m and n Curves, ...... 

Semi-Circle ?n and n Curves, . . . . . 

Phonic Spelling — Omission of Vowels, .... 

Phrase Writing, ........ 

Phonic Reading Exercises, ,..,:• 



iants, 



rage 

93 

93 
9> 
99 
99 
101 
103 
Kt3 
105 
107 
107 
109 
111 
111 
113 
115 
115 
117 
120 

120 
123 
1*27 
127 
128 
129 
129 
130 
130 
132 
132 
132 
132 
133 
133 
134 
134 
135 
135 
135 
137 
137 
138 
141 
184 
197 



ERRATA. 

On page 129 read oor instead of our. 
139 omit the word indefinite. 

146 read thaw instead of than. 

147 " eager instead of lager. 
147 " lopper instead of tapper. 
147 " taker instead of taken. 
147 i: countervail instead of counteract. 



The cut on the next page shows more clearly the shaded 
and unshaded characters than the text on page 47. 



-C5 




o 

CS 

c 

13 


o 

^ "2 

T3 -^ 

» f 


h3 

T3 ^3 
a g 

T3 ^5 

5 S 

1 


> shaded 






i 




— — > 


\ 


f 


V v 


1 

\ 


V 




-W ' 


/ 


\ 


1 / 


* / 


Y 

i 

/„. 




^ 




7 


\ 


J 


/ 




-^ 5 


J 


^ 


> ) 


) 


) 

V 


~i >) 


^ ^ 


'S 


7 

~~s 




> 77 v 

_ *„ 


~ y 




J 


^7 


~x 




7 


-N 


j 




-v J 


__ ( 


( 


^ 


( [ 


( 


( 

... .( 


-w ( < 


■^ <! 


V 


1 


^ k 


< <l 


V 

.<... 


~7 r 


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r 


<;. 




v ( 


( 

C- 


.^w Ll _ 






r 




r 


i 


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. — _ 


> ) 


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) 

Li 


--* >'■> ;: 


^ ^ 


Y 


) 


^ s 


> s 


7 
\ 

\ 


) 

r^.^. 


r 


; 


ii 


J j 


^ y 


J 

JL 


^Aj. ,. 


""> 




j 


~n 


J 


r 


>. J 


^r ( 


< 


-^.' 


; ( ( 


( 


( 

L 


.^±J f . 


-^ V 


^ 


"I 


. ^ v 


c ^ 


V 

( 






( 


V 


( y 


^ r 


( 
/ 


->. < ( 


— 






^Z 


ir 




^ '( 



PREFACE. 



At the earnest solicitation of friends, the author consented to 
the publication of this book. The system of Short-hand which 
it is intended to teach is one which the author has himself used 
for some time in his business as a stenographer. It has the merit 
of Being so plain and simple that it cannot fail to be understood 
by any person of ordinary intelligence ; so systematic and philo- 
sophical, that it can be easily remembered ; and so short, that it 
can be written with the rapidity of speech without extraordinary 
effort on the part of the writer. 

A good system of Short-hand is one by which a person of me- 
dium attainments, physical and mental, is able to write down the 
words of a rapid speaker with ease, and to read his notes at 
sight. Brachygraphy will meet the requirements of speed, abso- 
lute accuracy, and legibility, three qualities in which all other 
systems fail, except to a few favored ones whom nature has en- 
dowed with the qualities requisite to success. 

Stenographers who use other systems, will find it of immense 
advantage to adopt, in whole or in part, the vowel scale presented 
for the first time in this book. Many long outlines may be 
shortened, many sign-words abandoned, and their writing gener- 
ally rendered much more legible than before. 

In regard to the use of Greek letters in this work to represent 
the vowel sounds, a word of explanation may be necessary. As 
there are fifteen distinct primary vowel sounds in the English 
language, if it is intended that each shall be represented by a 
single character, it is obvious that the five vowel characters in the 
English alphabet are totally insufficient, and recourse must be had 
to some other expedient to supply the deficiency. After an ex- 
amination of various alphabets, the Greek was selected as the 

2 



VI MANUAL OF BRACHYGRAPHY. 

most available ; and the only difficulty experienced by students is 
in remembering that each character represents but one sound, and 
not from two to eight, as do the English vowel characters. 

The work was prepared in the months of October, November 
and December,, 1880, amidst the press of professional business, 
and with but little opportunity for revision, and the author begs 
the public to judge the work by the merits of the science of which 
it is intended to be the exponent, and not by its literary merits. 

With an earnest desire to aid in the great cause of human pro- 
gress, and feeling confident that when the merits of Brachygraphy 
become known by actual investigation, and comparison with the 
old systems, it will be duly appreciated, as tending to that end, 
the author submits it to the judgment of a discriminating and 
generous public. 



Pittsburgh, December 28th, 1880. 



MANUAL OF BRACHYGRAPHY. 



INTRODUCTION. 



BASIS OF SHORT-HAND. 

The object of this book is to introduce to the public a new- 
system of short-hand writing termed Brachygraphy. Although 
comparatively a new art, in reality short-hand was practised at 
a very ancient period. Plutarch, in his life of Cato the 
younger, says, " This, it is said, is the only oration of Cato 
that is extant. Cicero had selected a number of the swiftest 
writers, whom he had taught the art of abbreviating words by 
characters, and had placed them in different parts of the 
Senate-house. Before his consulate, they had no shorthand 
writers." 

From that period up to the sixteenth century systems of 
short-hand composed of abbreviated characters taken from the 
Roman alphabet, seem to have been in use to a limited extent. 
Since the sixteenth century many systems have been pub- 
lished, nearly all of which were founded upon geometrical 
figures, such as the parts of a circle, right lines, &c, to repre- 
sent the consonants. These consonants were joined together 
so as to form skeleton outlines of words, excluding all vowels 
in practical reporting. It has always been considered an im- 



8 MANUAL OF BRACHYGRAPHY. 

possibility to invent a system of short-hand capable of being 
written with the rapidity of speech, which would express the 
vowel sounds of the language with any degree of accuracy, and 
indeed it is expressly so stated by several authors. 

From the sixteenth century to the present time the same 
line of thought seems to have been pursued by all stenogra- 
phers in regard to the basis or ground-work of short-hand, that 
of representing the consonants by right lines and different 
parts of a circle, and if a vowel were required it had to be 
inserted after the consonant outline was finished. These 
systems were all in a great measure arbitrary and imperfect, 
until the year 1837, when Isaac Pitman, of England, suc- 
ceeded in reducing the art to a scientific basis. Pitman's 
system, however, as systemized, was too cumbersome and un- 
wieldy for practical use, and it was abbreviated by dropping 
some of the consonants in an outline, and introducing a large 
number of arbitrary characters called word-signs. Since that 
time, so far as the author has any knowledge, all systems, with 
one or two exceptions, have been but modifications and 
improvements of Pitman's. Most of them have thousands of 
word-signs to be committed to memory, and, as far as verbatim 
reporting is concerned, are in a great measure arbitrary. A 
system so modified ceases to be a science, and becomes an im- 
perfect art, requiring years of laborious study to master its 
details, and even then the unfortunate student may discover 
that he is not fitted to practice the art as he has learned it, 
through some physical or mental incapacity. 

Brachygraphy is in every respect a science, not only theo- 
retically but practically, and is capable of being written with 
the rapidity of speech by any man of ordinary ability and 
intelligence. Being based on the vowel sounds of the English 
language, there are few long consonant outlines of words 
which need to be abbreviated, and the long lists of word-signs 
in the old systems necessary to be committed to memory, are 
entirely unknown in it. In fact the whole system is classified 
so scientifically that the study of it becomes a pleasure rather 



INTRODUCTION. 9 

than a drudgery ; and any person of mediocre ability, by de- 
voting two hours per day to study, can acquire a practical 
knowledge of it in from six to twelve months. 

In regard to the legibility of the old systems of short-hand, 
it is a fact that when a stenographer dies his notes are of no 
more use than so much waste pape^ no man living being 
capable of reading them accurately, because of the vast number 
of arbitrary word-signs. A few abbreviations have been 
made in Brachygraphy, not because the outlines were too long, 
but because the abbreviated words were fully as legible as the 
full outline. 

Brachygraphy, being founded upon the vowels, is as legible 
as long-hand, and one stenographer can easily read another's 
notes ; and because of its legibility, it is capable of being 
utilized in ordinary business transactions where speed in the 
transaction of business is becoming a necessity. Already the 
large incorporated companies of the United States are growing 
restless and uneasy at the inadequate means of recording their 
business transactions. The introduction of railroads, the 
invention of the electric telegraph, the telephone, and other 
modern discoveries, all gave an additional impetus to business 
in other directions, and it is only since the introduction of 
these additional facilities, that the inadequacy of the present 
system of writing is felt. The great railroad, mercantile, and 
manufacturing companies of the country, complain of the 
hampered condition of their business, that the wheels of com- 
merce are being clogged by the present unwieldy mode of 
writing, and demand that an improvement be made in this 
most important means of transacting business ; and some have 
even made the attempt to unfetter themselves by urging upon 
all their younger employees the necessity of studying short- 
hand. 

Laborers are at work in other fields enlarging the boundaries 
of human knowledge, and in some departments the results are 
truly astonishing. Discovery after discovery has been made, 
until man, by utilizing the elements of nature, now travels with 

2* 



10 MANUAL OF BRACHYGRAPHY. 

the velocity of the whirlwind, and transmits his thoughts on 
the wings of the lightning, and no doubt the time will soon 
arrive when the traveler in foreign lands may hold sweet con- 
verse with dear ones at home, hearing and recognizing the 
very tones of their voices, though oceans roll between them. 
Nor is this all. The astronomer is able to pierce the vast 
abyss of space and gaze upon skies beyond skies, and stars 
beyond stars, in all their celestial grandeur ; the geologist 
bridges the great gulf of time which separates the world of to- 
day from the world of the past, and, lifting the dark curtain, 
gives man a glimpse of the condition of the earth and its 
inhabitants ages ago; the chemist, in his laboratory, " untwists 
the very fibres of matter/' and gives man an insight into the 
hidden and mysterious operations of nature. But while man 
is thus controlling the very elements of nature, compelling 
them to yield up their secrets to him, render obedience to his 
will, and supply his wants, there is another field in which 
there has been little or no progress for nearly two thousand 
years, although earnest and diligent laborers have been at 
work, namely, the art of writing. The poet's question, 

" Whence did the wondrous mystic art arise 
Of painting speech and speaking to the eyes? 
That we by tracing magic lines are taught 
How to embody and to color thought," 

still remains unsolved as to what primitive people we owe the 
invention of this beautiful and useful art; yet it undoubtedly 
had its origin in the desire of man to perpetuate a record of 
himself which would extend beyond the narrow span of his 
own existence. The instinct of self-preservation is strong, and 
man, realizing that the past is forever gone and no longer his, 
seeks to connect himself in some way with the future. Hav- 
ing learned by experience that his life cannot be perpetuated, 
he seeks to transmit to his children a record of his thoughts, 
deeds aud actions. The art of writing having been once 
invented, would naturally be used as a record of present events. 



INTRODUCTION. 11 

The memory is too treacherous a depository for the preserva- 
tion of important transactions, and a more stable means of 
perpetuating a knowledge of them would naturally be sought 
for. 

The first step in the art of writing seems to have been 
the representation of natural objects. The next step would 
probably be the representation of invisible ideas by symbolical 
characters. As civilization advanced the art of writing would 
become more and more complex until the signs would become 
conventional ; that is, it would become a matter of agreement 
that certain ideas should be represented by certain symbols. 
And when it has arrived at this stage of perfection it is called 
hieroglyphical as distinguished from alphabetical writing. It 
is not necessary to trace the various stages of development 
from hieroglyphical to alphabetical writing ; it is enough for 
our purpose to know that the present state of perfection was 
reached ages ago, and that but little improvement has been 
made in it since. Innumerable efforts have been made to 
shorten it, but have all proved failures. A wonderful 
panorama of events passes in review before us every day of 
our lives, and is swallowed up in the great vortex of time ; 
and if man attempts to rescue from oblivion the fleeting 
events of a day or an hour, he uses the slow old process of 
two thousand years ago. Is it not strange that such should 
be the case? The natural impulse of the hand is to keep 
pace with the thoughts, in writing ; and, while this is per- 
haps impossible, yet the hand could keep pace with speech 
were it not for the cumbersome machinery it has to wield. 
Many a brilliant idea, which would have been an invaluable 
acquisition to science, has been lost to the world from the want 
of a means of recording it before it vanished forever. 

If one simple, universal system of sound writing were com- 
mon to all the nations of the earth, what rich legacies of 
thought and deed would have been bequeathed to us by the 
great and gifted of ages gone by ; what a record of wit, 
wisdom and power could be transmitted to generations yet un- 



12 MANUAL OF BRACHYGRAPHY. 

bom ; and with what facility could great minds of our own 
generation distribute to us their " treasures of wisdom, genius 
and love !" 

Many efforts have been made to improve on the present 
laborious system of alphabetical writing, by abandoning the 
conventional signs and adopting symbols to represent sounds 
instead of ideas, and with various degrees of success. Many 
systems of short-hand have been published, in this country and 
in Europe, and most of them are as much superior to the com- 
mon long-hand in point of speed as the railway is to the old- 
time stage coach ; and yet, all these are wanting in two 
essential respects, viz.: speed and legibility. Thousands of 
persons have attempted the study of short-hand at some period 
during their lives, and failed. Phonographic professors 
and schools advertise to teach the art of writing from one 
hundred to two hundred words per minute in the course of a 
few weeks or months, yet not one of them ever turned out a 
practical reporter. The fact is that every reporter who can 
write one hundred and fifty words per minute, and read his 
notes readily, earned his profession by years of earnest, unceas- 
ing toil. 

To be able to report verbatim the words of a speaker, two 
things are necessary : first, the ability to write the characters 
representing the words, as fast as the speaker utters them ; 
second, the ability to read the characters after they are written. 
The difficulty in acquiring the art of shorthand writing lies in 
the fact that the symbols are so complex that they cannot be 
written as fast as the, speaker utters the words which they 
represent, and also in the fact that the symbols or characters, 
being difficult to decipher when perfectly formed, are doubly 
illegible when written by a reporter who is straining every 
nerve to keep pace with the speaker. That these difficulties 
have been overcome in Brachygraphy will be manifest to any 
one who will give the subject careful investigation. The 
author invites a comparison of his system with the old systems, 
and believes it will be found to be the shortest and most legible 
system of short-hand writing ever offered to the public. 



INTRODUCTION. 13 

To be easily learned, a system of short-hand must meet the 
requirement of science in regard to classification. This re- 
quirement has been met in Brachygraphy. The whole sub- 
ject has been classified in such a manner that the characters 
and principles composing the foundation of the system enter 
into the first exercise, and run through every subsequent ex- 
ercise in the book ; and it can no longer be said that short-hand 
is an imperfect art, but, as far as classification is concerned, is 
clearly entitled to a place among the sciences. 

To meet the requirement of speed, a system of short-hand 
should be easily written. The symbols should be formed of 
as few different strokes of the pen as is consistent with the 
length of time required to pronounce the word. That is, the 
time required to write a symbol should be proportionate to 
the time required to pronounce the word. If the symbol 
cannot be written as quickly as the word is pronounced, of 
course the reporter cannot keep up with the speaker. The 
characters or symbols in Brachygraphy are easily written, and 
are composed of fewer different movements of the pen than 
any other system extant ; and the gain in speed over the old 
systems is at least one-third. 

To be easily read, a system of short-hand must be vocal- 
ized. It is sheer nonsense to say that a system of writing 
consonants without vowels, can be easily read by an inex- 
perienced writer. He has nothing to guide him except the 
context. He has learned in the course of his studies that the 
consonant P, written in three different positions, represents the 
following words : party, happy, patent, pugh, hope, ape, up, 
po, pay f paw, pie, &c. The changes are thus rung upon 
nearly every consonant in the alphabet, and the reporter must 
depend upon the context to aid him in the selection of the 
appropriate word. If the context should happen not to sug- 
gest the appropriate word, as is often the case, the reporter 
has no other resource than his own judgment. In other 
words, he must guess what word to use, and a correct report 
will often depend upon the literary ability of the reporter. 



14 MANUAL OF BRACHYGRAPHY. 

Brachygraphy is founded upon the vowel sounds of the 
English language, and when the student has become familiar 
with the analysis of the sounds and the symbols which rep- 
resent them, he can read his notes as easily and readily as he 
can long-hand. 

That Brachygraphy is more legible, and capable of being 
written at a greater rate of speed with less effort on the part 
of the writer, than any other system of short-hand, has already 
been abundantly proved in 'the past, is being proved at the 
present time, and will have overwhelming evidence in its 
favor in the future. 

The author hopes that those who have been discouraged by 
the imperfections of the old systems, will be encouraged to 
try it again ; and that when Brachygraphy becomes better 
known it will lead to a general interest in the science, and be 
a powerful motor in the great cause of human progress. 

GENERAL REMARKS ON THE STUDY OF SHORT- 
HAND. 

Science may be denned to be knowledge classified. Art is 
applied science. Short-hand, considered theoretically, is a 
science ; considered practically, it is an art. Most sciences 
are of some use to mankind, though *iot applied as arts ; but 
short-hand, considered as a science, is utterly useless, and it is 
only when it is considered practically as an art, that its 
beauties are seen, and its benefits appreciated by mankind. 
Therefore, to derive any benefit from a knowledge of short- 
hand, it must be applied as an art. 

Short-hand, as a science, can be learned in a comparatively 
short time, but as an art it has always been, and still is, a task 
of considerable magnitude. Improvements have been made 
and adopted generally, in nearly all departments of human 
industry, except in the art of writing, one of the most import- 
ant of any, as far as relates to the communication of thought 
from one human being to another. There is no science or 



INTRODUCTION. 15 

art, in the vast catalogue, of more benefit to mankind than 
short- hand, and the demand for competent writers is only 
limited by the supply. It is a profession which is hardly 
likely ever to be overcrowded. In the United States, competent 
short-hand writers command salaries ranging from $1,000 
to $5,000 per year. The only difficulty in the way of lucra- 
tive positions is incompetency — a difficulty not to be wondered 
at, considering how few ever attain proficiency in the old 
systems, superior as they are to long-hand. The time is cer- 
tainly coming when one of the essential qualifications of a 
good business man will be a practical knowledge of the theory 
and practice of short-hand, and without which a lucrative 
situation cannot be obtained. 

The author would urge upon the young men and women 
of the United States the necessity of obtaining a competent 
knowledge of some system of short-hand, and he offers this 
little volume as containing immeasurably the best system, 
not only as regards the matter of speed and legibility, but 
as regards facility of acquisition. Yet it can only be ac- 
quired by close application and perseverance. The difficulties 
of short-hand are easily overcome by energy and persever- 
ance, but are insurmountable to those persons who expect 
to acquire a profession ready made. The ambitious student 
will find Brachygraphy still less difficult than any other 
system of short-hand writing, yet unless he studies thoroughly 
the principles underlying the whole system, and carefully 
picks up each grain of knowledge by the wayside as he proceeds, 
he will become involved in a labyrinth from whose devious 
windings he can never extricate himself. 

The author has cleared the path of many gnarled oaks, and 
in a great measure smoothed over the rough places, yet the 
student should remember the old adage, which is as true in 
these days as it ever was, " There is no royal road to learn- 
ing.*' The hill of science has ever been a difficult one to climb. 
Its sides are too precipitous to admit of an ascent without 



16 MANUAL OF BRACHYGRAPHY. 

great labor. He who stands at the foot gazing at the summit, 
sees before him a rugged way. Kind friends may remove im- 
pediments, and speak words of encouragement, but their assist- 
ance can go no further, the tedious ascent must be accomplished 
by the student alone. 

The attempt has been made in Brachygraphy to classify 
the vowel sounds of the English language, and to proceed 
upon as philosophical a plan as the unphilosophical elements 
of the language would admit. The limits assigned to this 
volume will not admit of an extended discussion of the 
elementary sounds of the English language; and it is only 
necessary to say that where the difference between two sounds 
is clear and marked, that distinction has been preserved ; 
but where an effort of the mental faculties is required to 
detect the difference, one of the sounds has been dropped as 
superfluous. The author has not aimed at a perfectly philo- 
sophical system capable of representing the slightest shades of 
sounds, such as has been attained by Mr. Graham and others, 
but only to make a system which would meet all requirements 
of science, speed and legibility. 

One distinctive feature of Brachygraphy is that it does not 
admit of a corresponding style of writing as distinguished from 
the reporting style, as it is called in other systems. After the 
principles have been thoroughly discussed the briefest reporting 
style is at once introduced. The student who will faithfully 
master the contents of this little volume will be able to write 
from one hundred to one hundred and fifty words per minute, 
.and by faithful practice may increase his speed to two hundred 
or more words per minute. The author has carefully abstained 
from burdening the pages of this work with anything but what 
strictly pertains to the matter in hand. The object is to pre- 
sent the principles of Brachygraphy in so plain and simple a 
manner that the earnest and faithful student may speedily 
make himself master of it, without burdening his memory with 
page upon page of extraneous and useless matter. The author 
has in course of preparation a work designed for the use of 



INTRODUCTION. 17 

those who have mastered the Manual of Brachygraphy, and 
who desire to follow reporting as a profession. It will contain 
copious exercises for practice, the best methods of taking testi- 
mony in court, transcribing short-hand notes, rules for punctu- 
ation, and much valuable information for those who expect to 
make legal reporting a profession. The whole subject of 
short-hand writing is there considered in detail, and such 
abbreviations made and phrases adopted as come natural to the 
mind while writing, and which do not impair the legibility of 
the writing. This method of abbreviation has been pursued 
until the result is a system of writing so legible as to be read 
at sight without dependence upon the context as in other sys- 
tems, and capable of being written at an almost unlimited rate 
of speed by a reporter of ordinary education and ability. In 
very many words in the present volume but one vowel has been 
allowed to remain, the legibility being secured as well by one 
as by two or more. Frequently also a vowel precedes or fol- 
lows a consonant without regard to position ; the accented or 
'leading vowel taking its proper position, the antecedent or 
subsequent vowels are joined to it above or below the line just 
as they happen to occur, and in that case their power is 
increased three-fold. 

For reporting purposes the student should use paper ruled 
with red lines, about half an inch apart, though for practice 
any kind of ruled paper will do. A good steel or gold pen, of 
medium elasticity, and very short in the nib, is required. A 
great many different methods of holding the pen have been 
suggested, but it is presumed the student will hold his pen in 
the way that comes most natural to him. The author holds 
his pen between the first and second fingers of the right hand, 
with the top of the pen holder pointing away from the 
shoulder, so that the points of the pen will rest evenly upon 
the paper, pointing toward the north-west corner of the paper. 
Holding the pen in this position, if a heavy stroke were made 
it would run toward the south-east corner of the paper, as in 
back-hand writing. This method of holding the pen will be 

3 



18 MANUAL OF BRACHYGRAPHY. 

found quite difficult at first, but the muscles of the hand will 
soon adapt themselves to the position, and the pen can be 
used with greater facility, and be under better control than by 
any other mode of holding it, and this advantage will also be 
gained, that the writer can-see each character as it is written. 

A caution is necessary to students who are ambitious to 
progress rapidly. There is great danger of measuring pro- 
ficiency by the number of exercises gone over. This idea has 
proved a fatal mistake to many a talented young man in other 
professsions as well as that of short-hand. The student 
should be governed by the maxim non multa, sed muhum, not 
the occasional reading and writing of many exercises, but the 
constant and continued reading and writing of a few. When 
the student has completely mastered one exercise, he has added 
to his stock of knowledge no mean acquisition. The next 
exercise will be much easier mastered : and the student will be 
delighted to find, after pursuing this course a moderate length 
of time, that he is master of an art which will be both a source 
of pleasure and profit to him. Reporting as a business should 
not be undertaken until preparation has been thoroughly 
made. The confidence of the public in the utility of verbatim 
reporting has been at times somewhat impaired by reason of 
incompetent reporters making garbled reports of important 
matters. A too eager desire to enter the arena of actual 
business life has led many a talented young man to begin the 
practice of his chosen profession without sufficient preparation ; 
and the almost inevitable result is a failure to ever attain emi- 
nence in it. A reporter should be a man of incorruptible 
integrity, as temptations to stultify himself will not be infre- 
quent; nay, even the retention of his official position may 
depend upon his consenting to do so. 

In regard to the method of study, the student can either 
study under a competent teacher, or alone. In the former 
case the teacher should drill his class thoroughly on the first 
exercise before taking up the second. The lessons should be 
given in a room having plenty of blackboard surface. The 



INTRODUCTION. 19 

teacher should assign to each member of tjie class one of the 
exercises previously gone over, while he himself writes the new 
exercise upon the board. After all have finished writing their 
exercises upon the board; the teacher should commence at the 
first of the new exercise, and run through the various combina- 
tions and fully explain them to the class. Then each member 
of the class should be required to go through the same exer- 
cise until all can do so without a mistake. When the new ex- 
ercise has been thoroughly discussed, the teacher should then 
require each student to go to the board and run through the 
exercise previously given him. By this method of study the 
exercises already gone over are reviewed each meeting, and a 
new exercise added. By adhering to this method of study the 
progress of the class will be astonishing. In about twelve or 
fifteen lessons the members of the class will have thoroughly 
imbibed the principles, and be ready to commence the spelling 
and reading exercises. 

When the student undertakes the study of Brachygraphy 
alone, he should beware of advancing too rapidly. After he 
has thoroughly mastered the first exercise, the subsequent ex- 
ercises will seem so easy that he will be tempted to drop one and 
take up another before he has thoroughly fixed the former in 
his mind. He should drill himself on each exercise until he 
can readily and easily write each character in it. When he 
has finished his exercise he should then review the whole from 
the first. After he has all the elementary principles firmly 
and indelibly impressed upon his mind, he may then begin the 
spelling and reading exercises, and not before. Finally, the 
author would say to the student, do not try to write fast. 
Strive to write well, and the speed will take care of itself. Fix 
a standard of form for each character in your mind, and 
always endeavor to make your writing conform to that 
standard. By constantly aiming at making perfect characters, 
the muscles of the hand and wrist will gradually adapt them- 
selves to the new duties required of them, and the student 
will find in a few months that it is just as easy to make a per- 
fect character as to make an imperfect one. 



MANUAL OF BRACHYGRAPHY. 

THE ENGLISH VOWEL SYSTEM. 

To one engaged in the ordinary vocations of life, the incon- 
sistency of the English Vowel System would never occur. It 
is only when made a subject of investigation that its glaring 
absurdities are seen; and the English language, more than 
any other living language, is mispronounced, because the com- 
binations of letters intended to represent the word, furnishes 
no clue to the real sound. Indeed, in a large number of 
words, the correct pronunciation is diametrically opposite to 
the spelling, and unless one has made a standard lexicon a 
special study, he will invariably mispronounce words in con- 
versation and reading. 

The English Vowel System is so utterly inconsistent, that 
no rules can be laid down for its government ; and just so far 
the language is imperfect. It is a well known fact that there 
is a large number of words, as regards the pronunciation of 
which, no two lexicographers agree, and the consequence is 
there are words in the English language the correct pronun- 
ciation of which is unknown with certainty. 

. Does it not seem wonderful, that in a language the richest 
and best the world has ever seen, portions of it should be in 
dispute, and the proper pronunciation of it entirely unknown, 
or at least arbitrary ? 

This condition is the result of the intermixture of different 
nations of people, and as a nation is improved in a physical 
aspect by such intermixture, so for the same reason the lan- 
guage is enriched and rendered more expressive of the spiritual 
in man. Another result of this attrition of different languages 
is the loss of the proper pronunciation of the original lan- 
guage. The English language, in its colloquial form, is 
largely made up of Anglo-Saxon words; but the original 
pronunciation of those words, from the changes of time and 
circumstance, has been utterly lost, and no one can say with 
certainty what the original sounds of the vowels and conso- 
nants were. 



INTRODUCTION. 21 

The effects of the touch and tooth of time are visible in 
all the works of nature ; and the tendency is to tear down 
rather than to build up ; but in many of the works of art the 
converse seems to be the fact. The effect of time on the 
heart or core of language, is to improve it, and render it a 
vehicle capable of more refined and subtle expression ; but 
the result is entirely different as to its outward symbolization 
or crystalization. It is there that the deteriorating effects of 
time are seen. Aboriginal or primitive language may be 
clothed in symbolic garments as simple and expressive as the 
coverings of the tribe itself, but by degrees the simple sound 
symbols are changed in form and sound, and become more and 
more complex, until to a foreigner endeavoring to learn the 
language, they become, in the words of an eminent jurist, 
an u unintelligible jargon. " 

With the origin of oral or spoken language we have nothing 
to do in this discussion ; it is only the texture of the garments 
in which it is clothed, that is to be made the subject of exam- 
ination. Philologists agree that when a language is first 
symbolized or reduced to what we call writing, conventional 
signs are adopted to represent the elementary sounds of which 
the language is composed ; and these elementary sounds 
are susceptible of a classification into consonantal and vocalic 
sounds of a limited number ; and the obvious and natural 
representation would be a distinct sign for each distinct sound. 
This, in the English language, would necessitate the invention 
of some forty-three different characters or signs to represent 
the various shades of sounds into which the English language 
is capable of being divided. As far as can be traced back, 
all languages seem originally to have had such a phonetic 
representation ; but by the mutations of time and circum- 
stance have gradually lost their simple mode of representation, 
and by intermixture with foreign or kindred nations, have 
assumed a complexity of elements, in which but little more of 
the original than a few of the consonantal signs are recog- 
nizable. 

3* 



22 MANUAL OF BRACHYGRAPHY. 

The vocabulary of a savage nation would necessarily consist 
of a very limited number of words, being composed of such 
words only as would best represent their simple wants, and 
express the thoughts and feelings of those living in a savage 
or pastoral state, without knowledge of art and science, or idea 
of matters related to a cultured and refined life. So, too, even 
among enlightened nations, very few of the words of which 
its language is composed ever become known to all the indi- 
viduals of a nation. Men in particular avocations of life have 
a vocabulary of words, of which persons following other pur- 
suits are entirely ignorant. The vocabulary of a language like 
the English, which, from its complex origin and long culti- 
vation, has become rich in its wealth of words, has been 
roughly estimated to contain at least one hundred thousand 
words, and of this large number the most highly cultured man 
will scarcely use, in speaking or writing, twenty-five thousand, 
and about four thousand suffice for ordinary cultivated com- 
munication. The child, when it has fully learned to speak, 
uses a simple vocabulary of childish phrases to express the 
ideas and incidents of its childish life, amounting to less than 
a thousand words, and these mainly simple Saxon. As the 
child grows older his mind expands, and experience adds to 
his stock of knowledge, and by the time manhood is reached, 
he has perhaps doubled his vocabulary. If, then, he is 
thrown upon the world to commence the battle of life, he will 
probably add very little more to his limited store. 

The observer of events, as they happen around him, can- 
not have fitted to notice that his mother tongue is constantly 
undergoing change, both in its oral and written form ; new 
words are constantly being added to its vocabulary, words al- 
ready existing are modified in sound, and still others are 
dropping out and becoming obsolete. The same change has 
been taking place since its origin, and will continue to take 
place until posterity of future ages will have no conception 
of our language as it is pronounced to-day. The same change 
has been, and is taking place in other languages. 



INTRODUCTION. 23 

Classical literature is taught in our schools and colleges. 
Greek and Latin form conspicuous parts in most college cur- 
riculums, and yet, where is the professor of either language 
who can say with any degree of certainty, what was the cor- 
rect pronunciation of these languages? The sounds of the 
very vowels of the Latin, which the school-boy pronounces so 
glibly, are a hopeless matter of conjecture ; and of Greek, 
what shall we say when we learn that its consonants, which 
in any language are the least subject to change, are a matter 
of dispute? Philologists agree, that in representing a lan- 
guage by conventional signs, the fundamental idea of the in- 
ventor is to adopt a set of symbols which shall correspond in 
number to the elementary sounds of the language, and that 
each of these symbols shall represent one particular sound • 
so that when a number of these symbols representing a com- 
bination of sounds called a word, is brought to the notice of 
one conversant with the language, the sight instantly recalls 
the word. It is true, that the study of the orthography of 
most old languages does not suggest a phonetic origin, but 
let the student begin to trace his mother tongue back through 
all the various changes it has undergone, and, though he may 
not be able to say with certainty whence it was derived, yet 
he will be satisfied as to its original phonetic representation. 
An examination of any original alphabet leads to the conclu- 
sion that the paramount idea of the inventor was to produce 
a simple accurate phonetic representation. The Sanscrit 
Gothic, Russian and others, serve as examples of this effort at 
phonetic simplicity. 

Written language was at first pictorial ; that is, a simple 
object would be represented by a picture of it. As civilization 
advanced, another step forward would be taken, and abstract 
ideas would be conveyed by symbolic representation, as 
u strength" by a picture of a lion. A later step would be the 
conventionality of these signs, that is, by degrees it would be- 
come a matter of agreement that certain ideas should be rep- 
resented by certain signs ; and the culmination was reached 



24 MANUAL OF BRACHYGRAPHY. 

when each symbol was made to represent a simple elementary 
sound, instead of an idea or object. To effect this, language 
had to be analyzed, and the vocalic elements separated from 
the consonantal, and the whole classified so as to be compre- 
hended by those less profound in linguistic science. 

It is impossible to trace with absolute accuracy every step 
in the gradual development of phonetic writing, but the 
progress of the art through its successive stages — pictorial, 
symbolic, to the phonetic — is deduced from circumstances 
clearly enough to satisfy people of ordinary independent 
thinking powers. In representative or pictorial writing, the 
savage was informed by means of a picture of a wounded deer, 
with an arrow sticking in the wound, and a savage in the dis- 
tance with his bow still raised, conveying the impression that 
the arrow in the deer had but lately winged its way from the 
bow, that his companion had gone on a hunting expedition. 
By symbolic writing — that by which abstract ideas are ex- 
pressed — the Druid might be informed by the conventional 
sign of a smoking altar, a flint knife in the grasp of a human 
hand, and a smoking human heart, that a great festival was 
being celebrated. 

It is manifest, however, that these methods of writing — 
either pictorial or symbolical— would be inadequate to express 
the different parts of speech of a cultured language. The 
language of a semi-civilized nation, engaged in commerce with 
foreign nations, must of necessity contain terms indicative of ab- 
stract and even concrete ideas, which could only be represented 
phonetically, constituting the third step in the development of 
the system of writing. This necessity for a phonetic represen- 
tation gave rise to a third class of hieroglyphics, called by 
philologists, phonetic. On this subject, Dr. Beard says, in 
relation to the Coptic language : " Their language must have 
possessed such terms as could be expressed only by characters 
which stood for sounds. * * * That a certain number 
(phonetic signs) were so employed is beyond a doubt, and the 
principle on which these figures were selected for that pur- 



INTRODUCTION. 25 

pose has probably been ascertained ; it was apparently this, 
that the names of things (j. e. the words) suggested by these 
hieroglyphics began by the sound or letter which they were 
taken to represent. Thus, an eagle, which in Egyptian or 
Coptic is abom, expressed the letter a, a censor, in Egyptian 
berbe, the letter b, and so on." 

The character of phonetic writing is, of course, dependent 
upon the sounds of the particular language it is intended to 
represent. In this respect it is entirely different from repre- 
sentative or symbolical ; the former picturing the very object 
to be represented, the latter representing the sounds by pictures 
of objects in the names of which the sounds occur. In this 
manner are gradually evolved elementary sounds combined into 
syllables and words represented by phonetic alphabets. This 
system of evolution, as it may be termed, seems to be confined 
to no particular language. The principle is applied very in- 
geniously to the English language by Mr. Bancroft as follows : 
" According to this system the Jl®** signifies successively the 
word i hand/ the syllable ' hand' in handsome, the sound ' ha' 
in happy, the aspiration l h' in head ; and finally, by simpli- 
fying its form, or writing it rapidly, the g becomes fcj, and 
then the ' \^ y of the alphabet." 

It may not be uninteresting to the student to trace briefly 
our own rich language through the successive changes it has 
undergone, until it has reached the present barbarous state 
of its orthography. The English language belongs to what is 
generally called the Indo-European family. "All the known 
Indo-European languages/' the learned Professor Whitney 
says, " are descended from a single dialect, which must have been 
spoken at some time in the past by a single limited community, 
by the spread and emigration of which — not certainly without 
incorporating also bodies of other races than that to which 
itself belonged by origin — it has reached its present wide dis- 
tribution.' ' If, indeed, that be true, then the various Druid - 
ical tribes inhabiting Britain at the time of its conquest by 
Caesar in the year 55 B. C, spoke also dialects of a parent 



26 MANUAL OF BRACHYGRAPHY, 

language which belonged as an offspring or shoot to this 
original dialect. It is not improbable that the Celtic dialects 
spoken by the tribes of Britons, as well as those of Gaul, 
Caledonia, and Ireland, were all children of a common parent, 
and that the language of to-day contains Celtic roots, which, 
if their history were known, could be traced back to the dialects 
of the Druids. 

Some early historians insist with great warmth, that many 
of the maxims and precepts of the Common Law of England 
have come down to us from the time of the Druids, unchanged. 
As, for instance, the laws of gavel-kind ; and if laws are trans- 
mitted to posterity, why not also many of the words in which 
the laws are clothed ? That the conquest of Britain by the 
Romans had a sensible effect upon the Briton language, is 
plainly discernible at this distant day. Its ear-marks are dis- 
cernible in such words as Chester, the termination of many 
English names of towns, derived from the Latin u Castra," a 
camp. January is derived from the influence of the " two- 
faced Janus" ; March, from the God of war, "Mars" ; in 
July and August is embalmed the memories of the powerful 
Julian and crafty Augustus. 

When the Romans completed the conquest of Britain, the 
original inhabitants of the island were cooped up in Wales, en- 
tirely cut off from any general intercourse with the Romans, 
and yet the Welsh language of to-day contains a large number 
of Latin words. Of the language in use on the island at the 
close of the Roman occupation, we know comparatively little. 
The historian, Charles Knight, says : " In no country under 
the dominion of Rome was the admixture of races so extensive 
as in Britain, and that admixture, be it remembered, chiefly 
prevailed in the most populous places. The result, in the 
large communities, was a blended progeny and a blended lan- 
guage/' 

There is no doubt that the main body of the English lan- 
guage of the nineteenth century is Saxon tinged with Latin ; 
but it is a mistaken idea of many writers, that it is little else 



INTRODUCTION. 27 

than Saxon with a slight tinge of Latin. In the first place, 
words of Latin derivation form a large proportion of the lan- 
guage ; and in the second place, other languages have contrib- 
uted quite copiously to its vocabulary. For example, sab- 
bath, cherub, seraph, jubilee, &c, are Hebrew ; algebra, 
alkali, zenith, cipher, &c, come to us from the Arabic; 
lemon, sugar, sherbet, magazine, &c, from the Sanscrit ; 
calico, chintz, punch, toddy, &c, from the Hindoo ; tea, nan- 
keen, &c, from the Chinese ; canoe, moccasin, guano, potato , 
sachem, hominy \ &c, from the American Indian languages. 
These are only specimens out of a long list that might be men- 
tioned as derived from those languages ; and an idea of how 
great a number have been derived from other better known 
languages, the German, French and Spanish, may be had by 
a careful examination of any standard lexicon. 

During the period intervening between the end of the 
Roman occupation of Britain and the Saxon invasion, various 
irruptions were made by the Picts and Caledonians, but it is 
not probable that the attrition of those languages with the 
Breton language had any perceptible influence on the latter. 
The invasion and conquest of Breton by the Teutonic hordes 
from Sleswig, Holstein and Jutland, as it blotted out the in- 
habitants and gave a new name to the island, so it almost 
blotted out the very Breton language. The great body of the 
Breton language is now gone forever ; drawn into the great vor- 
tex of time, it has disappeared, not only from sight but from 
memory also. History informs us, that when the Bretons 
could no longer resist the invader, a large number took refuge 
in Wales, and a chosen band formed a colony in Gaul called 
Armorica, or now known as Brittainy ; yet a great body of 
the people would still cling to their hearths and firesides, and 
would soon become assimilated with the Saxons, not only in 
manners, but in language. 

Gibbon affirms that " The language of science, of business 
and conversation which had been introduced by the Romans, 
was lost in the general desolation. A sufficient number of 



28 MANUAL 0¥ BRACHYGRAPHY. 

Latin or Celtic words might be assumed by the Germans to 
express their wants and ideas ; but those illiterate pagans pre- 
served and established the use of their national dialect/ ' Mr. 
Whittaker, in commenting on this affirmation of Gibbon, re- 
futes it by presenting a list of more than three thousand 
British words incorporated into the English language. Mr. 
Whittaker is corroborated by the fact that the Mercian laws, 
which are none other than the ancient Breton laws, prevailed 
in the midland counties of England, and in the counties bor- 
dering on Wales, as late as the beginning of the eleventh cen- 
tury. And it is to be presumed that these laws, intermixed 
with Druidical customs, would be recorded in the Druidical 
language. In the ninth century, the intrepid Northmen in- 
vaded and established themselves in the eastern counties of 
England, bringing with them their customs and language. At 
this period three different laws and languages prevailed in the 
Island : the Mercian, which were the laws and language of 
the Ancient Britons ; the Danish and the West Saxon. 

A century earlier, five different languages were spoken, the 
Latin, Saxon, British, Pictish, and the Irish. These lan- 
guages were slowly, but surely becoming amalgamated. The 
Saxon language being dominant, was gradually absorbing the 
others, until it was itself encroached upon and subjected to the 
influence of another healthy and vigorous language; and 
though for centuries the haughty Northmen affected to 
despise the language as well as the people, though all legal 
proceedings were conducted in the language of the conqueror, 
yet, instead of being assimilated and lost in the dominant 
language, the Saxon became itself the dominant language and 
absorbed all the others, and comes to us to-day the richest 
language upon the globe. It has made new nations, and it is 
gradually spreading over the earth, assimilating to itself the 
choicest words of other languages ; and it requires no prophetic 
vision to foresee a time when all the nations of the earth shall 
hold communion with each other in the tongue of the once 
despised Saxon. 



INTRODUCTION. 29 

It is Dot the English language alone that has borrowed and 
assimilated words from other languages. All the cultivated 
languages of Europe have borrowed more or less from the 
Greek or Latin. The English language is peculiar only for 
the extent to which other languages have contributed new 
stores of expression to enrich its already large vocabulary. 
Professor Whitney says : " A trustworthy estimate of the de- 
rivation of the words found in our great dictionaries makes 
nearly five-sevenths of them to be of classical derivation, and 
only about two-sevenths native Germanic, the sum of deriva- 
tives from other quarters — only a thousand or two — being of 
no account in such an estimate. Of course, the words do not 
enter into the ordinary combinations of practical use in any 
such proportion as this, because our commonest terms, the 
bulk of the material of ordinary speech and nearly all its ma- 
chinery are Germanic." Again, the same author says : 
u The science of language has taught us that one man's speech 
is just as much a language as another man's ; that even the 
most cultivated tongue that exists is only the dialect of a cer- 
tain class in a certain locality, both class and locality limited, 
though the limits may be wide ones. 

" The written English is one of the forms of English used 
by the educated class for certain purposes, having dialectic 
characters, by which it is distinguished from the colloquial 
speech of the same class, and yet more from the speech of 
other classes or sections of the English speaking community. 
And each one of these is as valuable to its comparative student 
of language as their alleged superior. But English and 
Dutch, and German and Swedish, and so on, are the dialects 
of Germanic speech, and the same, along with French and 
Irish and Bohemian, and the rest, are the dialects of a wide 
family, whose limits we have drawn above. 

u The earliest of Indo-European tongues is the Sanscrit, 
especially its earlier or Vedic dialect, the dialect of the religious 
hymns, which, with auxiliary literature of somewhat later 
date, became the Bible of the Hindoos, the so-called Veda 

4 



30 MANUAL OP BRACHYGRAPHY. 

the date of which is incapable of being determined with any 
exactness ; probably it was nearly or quite 2000 B. C." 

Other eminent linguists have placed the Sanscrit as the 
parent language, from which all the cultivated European 
languages have been derived ; and the Sanscrit and Semitic 
as dialects of a still more remote language. 

Having shown the constitution of the English language, as 
spoken, we proceed now to trace the changes that have taken 
place in the written language and show how most all modern 
languages have arrived at such inconsistent vowel systems. 
It is generally agreed that the Phoenicians were the inventors 
of the first alphabet. Numerous inscriptions on monuments 
and coins which have been discovered have preserved to us 
the earliest form of the Phoenician alphabet. This alphabet 
consists entirely of consonants, vowels not being necessary, as 
there is a peculiar series of gutturals in the Syro- Arabic lan- 
guage, which enables them to express the elementary sounds 
of their language without the use of distinct vowel sounds. 
The same peculiarities exist in the modern Arabic, their 
written language consisting of consonantal outlines alone, 
without vowels. A close observance of the points of re- 
semblance and of divergence of the alphabets of the Phoenici- 
ans, Ancient Hebrew, Samaritan, Aramaic characters on 
Egyptian monuments, Palmyrene alphabet, and even of the 
later square Hebrew characters, which some writers affirm 
were borrowed from the Chaldeans, show their unmistakable 
Phoenician origin. And by analogy the earliest Phoenician 
alphabet could be traced back into the hieroglyphics or idea- 
representing characters. In its adaptation to kindred lan- 
guages it underwent various modifications which are easily 
observed by a comparison. It is only when the Phoenician 
is placed side by side with languages belonging to a later period 
that the points of resemblance are lost by reason of the too 
abrupt transition from the very ancient to the modern, and 
yet, if all the intermediate gaps are filled by the successive 
languages through which the original alphabet has passed, the 



INTRODUCTION. 31 

points of divergence can be traced with remarkable accuracy. 
The order of writing was at first from right to left, then from 
right to left and left to right alternately, and finally from left 
to right became the standard mode of writing. 

When the Phoenician alphabet was adopted by the Greeks* 
the system of guttural sounds peculiar to the Syro-Arabic 
tongues was entirely inapplicable to the Greek language ; and 
at the same time a method of representing vowel sounds was 
necessary; accordingly they converted some of the gutturals 
into vowels — "A, E, I, 0"— the order in which they stand 
to-day in modern languages, and others they dropped as super- 
fluous. These vowel sounds, with slight modifications, were 
amply sufficient to vocalize the primitive languages which 
adopted them from the Greek'; but in process of time, from 
various causes, the number of these simple vowels was in- 
creased, and the power of each vowel was augmented — that is, 
each vowel might have several different sounds ascribed to it. 
One powerful instrument in causing this was the blending to- 
gether of different languages. 

Every student of a foreign language knows with what diffi- 
culty the correct pronunciation is acquired, and we have ex- 
amples of it every day in listening to the " broken English" 
(as it is called) of foreigners. No doubt both the Breton and 
Latin languages mutually affected each other, as regards the 
pronunciation of each, and the sounds of the Latin alphabet 
would be modified - to the same extent. So, too, when the 
Saxon language overpowered and rendered obsolete the main 
body of the Breton language, the remnant that was retained 
and incorporated into the Saxon, or English language, as we 
may now call it, was modified very materially in pronuncia- 
tion, while the ancient spelling would remain intact, and thus 
a word would be spelled one way and pronounced another. 

Another source of discordance is the constant fermentation 
and change to which all language is subject. Every human 
being who can speak has his own peculiarities of expression, 
differing in many sounds from all others. Different communi- 



32 MANUAL OF BRACHYGRAPHY t 

ties, like individuals, speaking the same language, are subject 
to the same peculiarities. To an American the English use 
of W and H is sometimes very ludicrous, though the 
tendency to dialectic speaking in the United States might 
appear equally ludicrous to an Englishman; and our some- 
thing and nothing might appear as strange to him as his some- 
think and nothink does to us. So, too, if we can imagine for 
a moment our country overwhelmed with an influx of Eng- 
lish-speaking Celts and our present system of spelling words 
applied to their pronunciation, what a revolution it would make 
in the sounds of our vowels ! 

To one unacquainted with the Welsh language it affords 
some amusement to glance over the pages of a book or news- 
paper printed in that language. The seeming incongruity of 
its combination of consonants renders it unpronounceable to an 
American, and yet it is the ancient language of Britain, and 
part of it exists in our mother tongue, though under a modi- 
fied form. This is another cause of the change in the phonetic 
basis of written language, the inability of an adult people to 
pronounce the consonantal combination of a foreign language* 
Thus, in the Teutonic languages, a frequent combination are 
the consonants gn or kn, which to us is disagreeable and 
almost unpronounceable, and in a long list of Danish and Ger- 
man words incorporated into the English the g and k have 
been omitted in the spelling; and when they have been re- 
tained they form silent letters, as in gnaw, gnarl, knack, 
knap j knife, knight, knit, knee, &c. Again, on the Roman 
occupation of Gaul and Breton, the Gallic tribes, in adopt- 
ing the Latin language, were unable to utter a sibilant before 
a mute, as sk, sh, st, and in the effort to do so they made a 
separate syllable of the s by prefixing a vowel, forming such 
words as escape, from the Latin scapus ; especial, from the 
Latin specialis ; establish, from the Latin stabilis ; estate, 
from the Latin status, &c. Another cause of confusion in 
the orthography of a language is the union of separate words, 
expressive of distinct ideas, to express what might be called a 



INTRODUCTION. 33 

compound idea. This process of creating compound words is 
common to all languages, but more so with the American 
Indian dialects than any other. 

In the English language we have a large class of compound 
words formed by prefixing various simple words to the ad- 
verbs LIKE, as love-like, man-like, God-like, correct-like, just- 
like, diligent-like, happy-like, noble-like, safe-like, &c. There 
is a constant effort at simplicity in the formation of speech ; 
simple elements are compounded to express more complex 
thoughts and feelings, and then these compound words are 
mutilated by dropping initial or final syllables ; or, it may be, 
modifying the sounds of terminations. Thus, the compound 
words mentioned above have come, in the course of two cen- 
turies, to be modified by dropping a portion of one of the 
simple elements, and we have in their stead, lovely, manly, 
godly, correctly, certainly, distinctly, bravely , justly , diligently , 
happily, nobly, safely, &c. The words SO-LIKE and WHO-LIKE 
have gradually lost their original elements and now present 
themselves to us in the words such and which. 

Many other concurrent causes no doubt exert their in- 
fluences on the orthography of a language, but the limits to 
which we can extend this article have been reached, and it is 
to be hoped that sufficient light has been thrown upon the 
subject to awaken an interest in the mind of the student and 
enable him to pursue the subject further at his leisure. We 
shall close this chapter by a quotation from Professor Whit- 
ney's "Life and Growth of Language" : "It must be carefully 
noted, indeed, that the reach of Phonetics, its power to pene- 
trate to the heart of its facts and account for them is only 
limited. There is always one element in linguistic change 
which refuses scientific treatment — namely, the action of the 
human will. The work is all done by human beings adapting 
means to ends under the impulse of motives and guidance of 
habits, which are the resultant of causes so multifarious and 
obscure that they elude recognition and defy estimate. The 
phonetist is never able to put himself in l a priori 1 position, 

4* 



34 MANUAL OF BRACHYGRAPHY. 

His business is only to note the facts, to determine the re- 
lation between the later and earlier, and to account for the 
change as well as he can, showing of what tendencies, in 
which of their forms it may be accounted the result. The real 
effective reason of a given phonetic change is that a com- 
munity which might have chosen otherwise willed it to be 
thus, showing thereby the predominance of this or that one, 
among the motives, which a careful induction from the facts 
of universal language proves to govern men in this depart- 
ment of their action." 



THE VOWEL SYSTEM. 



35 



THE TOWEL SYSTEM. 



It is of the utmost importance to the student that he 
should, at the outset of his studies, obtain a correct knowledge 
of the vowel sounds used in Brachygraphy to express the 
English language. 

There are fifteen vowel sounds used in this system, and 
each of these sounds has, in theory, a character to represent it. 
Practically, however, two characters are omitted, and the fif- 
teen sounds are represented by but thirteen characters, as will 
be fully explained hereafter. 

The Greek letters which have been adopted to represent the 
vowel sounds are technically called phonotypes. 

The short-hand characters corresponding in sound to the 
phonotypes are called phonic?. 

TABLE OF VOWELS. 



LONG VOWELS. 


SHORT 


VOWELS. 


<?, as in 


eat. 


h 


as in bit. 


k, " 


ate. 


s , 


a 


bet. 


W, " 


arm. 


a, 


tc 


bat. 


cf, " 


bog. 


a,. 


a 


bot. 


<j, u 


boat. 


*<> 


« 


but. 


fi ) " 


boot. 


*i 


it 


put, or poor 




DIPHTHONGS. 








A, as in mite. 








(p, " oil. 








6), « 


owl. 







36 MANUAL OF BRACHYGRAPHY. 

The student will pronounce the words eat, ate, arm, bog, boat, 
boot, bit, bet, bat, bot, but, put, mite, oil, owl, several times, 
until he has the list committed to memory in the consecutive 
order in which they occur. He will then pronounce the vowel 
sounds of those words ; thus : 

£, k, r/, g/, <r, d, 

e-at, a-te, a-rm, b-o-g, b-o-at, b-oo-t, 

7, e, a, a, 7T, s f 

b-i-t, b-e-t, b-a-t, b-o-t, b-u-t, p-u-t, 

A, 0, w, 

m-i-te. oi-1, ow-L 

He will then substitute the phonotypes for the vowels in 
those words, giving to the former the same sounds as the 
latter ; and then repeat the words again and again, until he 
can pronounce glibly and accurately the sounds of all the 
vowels and diphthongs represented by the phonotypes ; thus : 

?at, Lte, Wrm, bog, bat, bi>t, b?t, bet, bat, 
bat, b7rt, prt, mAte, 01, a)l. 

Each phonotype has a phonic, or short-hand character, to 
represent it ; that is, the phonic has the same sound as its cor- 
responding phonotype ; thus : 



?, U, ri, d, 0-, o, 7, e, a, a, it\ 21, A, 0, 

"■=*■ l i *y* — H- r 



u 



Observe that the phonics representing A and are distin- 
guished from the others by being written higher in the line ; 
and oj, by being written through the line. The phonics rep- 
resented by the phonotypes £, L, W, c/, a, i>, a, ii, and 0) are 
always written with a heavy pressure upon the pen ; those 



THE VOWEL SYSTEM. 37 

represented by 7, e, a, rr and X are written with a light press- 
ure. The former are heavy or shaded strokes ; the latter, 
light or unshaded strokes. 

Kkmark. — If the young pupil should fail to comprehend the 
above analysis of sounds, and be unable to obtain the correct 
sounds of the phonotypes and phonics, he should seek the assist- 
ance of a teacher, or other person of education and mature mind. 

The short vowels represented by the phonotypes a, as in bot, 
and a, as in put, are omitted in practice, and their places sup- 
plied by their corresponding long vowels represented by the 
phonotypes d and 9 ; for, although the distinction between 
these short vowels and their corresponding long vowels is 
marked and distinct when standing alone, yet when they are 
combined with almost any consonant, the distinction of sound 
is at once lost, and the short sound changes to a long sound. 
In order, therefore, to avoid the inconvenience of having two 
characters to represent one sound, the short vowels a and il in 
those cases are omitted. 

The short vowel ;, when combined with the consonant r, is 
used interchangeably with f, as the shade of difference be- 
tween the sounds represented by £r and n is so slight that 
none but the most cultivated ear can detect it. 

When the distinction of sounds between a long vowel and 
its corresponding short vowel is so slight as not to be per- 
ceptible to an uncultivated ear, the phonics or phonotypes can 
be used interchangeably without the least inconvenience or 
danger of confusion. 

If the student will dwell long enough on " The Vowel Sys- 
tem" to make himself master of the analysis of sounds, and 
fix it firmly in his memory, he will find his future progress 
rapid, pleasant and easy. If, on the other hand, he passes 
over the first lesson without comprehending it clearly and per- 
fectly, he will fail to comprehend the very first phonic exer- 
cise. The English system of orthography is to be left entirely 
out of view, as it has no place in phonic writing or spelling. 



38 MANUAL OF BRAOHYGRAPHY. 

In Brachygraphy, words are resolved into their phonetic ele- 
ments, and each element has its own peculiar symbol to rep- 
resent it ; so that a glance at the symbol at once conveys to 
the mind the proper sound. 



DEFINITIONS. 

Phonic spelling is the distinct utterance of the elementary 
sounds of a word in their proper order. 

Phonic writing is the formation of symbols or characters on 
paper or other material, representing the elementary sounds of 
a word. 

A union of two consonants representing a single sound, is 
called a double consonant. 

A union of three consonants representing a single sound, is 
called a triple consonant. 

A union of a vowel with one or more consonants represent- 
ing a single sound, is called a combination. 



VOWELS AND COMBINATIONS, 39 



VOWELS AND COMBINATIONS. 



It will be observed that the Phonic Exercise on page 47 is 
divided into five groups of three lines each, and the explana- 
tions below all have reference to that exercise. 

The characters in the first line are all pure vowels and diph- 
thongs, and are written from left to right, and downward. 

The phonics represented by the phonotypes X and <f> are 
distinguished from the rest by being written higher in the line ; 
the phonic represented by the phonotype o> is written through 
the line for the same purpose. 

1 ?, L, rl, d, a, 0, 7, e, a, a, tt, &, A, (/>, g). 

- ■"*? S zs> 7 m L -T- 1 

In the second line, combinations are formed by uniting the 
consonant r with the vowels. The first three phonics are in- 
clined upward at an angle of about fifteen degrees above a 
horizontal line ; the next three are inclined to the right of a 
perpendicular line about fifteen degrees. The short vowel 
phonics are written in the same direction as their correspond- 
ing long characters. The diphthongs are inclined to the right 
of a perpendicular line about fifteen degrees, in the same 
manner as the second three phonics. 

The direction in which the phonics are written is called the 
r angle. 

In order to be perfectly consistent it would seem natural to 
write all the short vowel phonics with a light stroke, to distin- 
guish them from the long vowel phonics ; but if the student will 



40 MANUAL OF BRACHYGRAPHY. 

refer to the phonotype and phonic indicated by the figure 2, 
he will observe that the short vowel x when joined to the con- 
sonant r has almost, if not quite, the same sound as the fourth 
combination in the line, indicated by the figure 1. In other 
words, dx and ax have the same sound in speech, and in order 
to avoid having one sound represented by two different char- 
acters, the short sound is omitted. The same remark does 
not apply with equal force to the phonotypes and phonics rep- 
resented by figures 3 and 4, as there is an appreciable differ- 
ence in the sounds represented by £r and ix. Those characters 
may, however, be used interchangeably. The phonics repre- 
sented by the phonotypes Ur, r/r, dr. #r, dx, ar, ^r, </>r and o)x 
are always written with heavy strokes ; ex, ar, 7rr and Xx with 
light strokes ; and 7r with either a light or a heavy stroke. 

3 14 2 

2 £r, Ux, r/r, c/r, <rr, ^r, 7r, er, ax, ar, ~r, nx, Xx, 0r, 6>r. 



T — ^ — ^ * 

Ear, air, are, or, oar, oor, Ir, Sr, ar, or, ur, oor, ire, oir, our. 

The proper pronunciation of the characters in line 2 is in- 
dicated by the words underneath them. 

In the third line combinations are formed by uniting the 
consonant I with the vowels. The first three characters are 
inclined below a horizontal line about fifteen degrees; the 
next three are inclined to the left of a perpendicular line about 
fifteen degrees. The diphthongs are written in the same gen- 
eral direction as the second three long sound phonics. 

The direction in which the phonics are written is called 
the I angle. 

3 £1, U\, Wl, cfl, <rl, i>l, ?1, el, a\, a\, ttI, jJ, XI, 01, g>1. 
> ^ ' * ^ ^ ' t J 



VOWELS AND COMBINATIONS. 41 

The first group of three lines in Phonic Exercise I, on 
page 47, embraces all the different angles at which the com- 
binations are written. The same angles are preserved in the 
second group, but the phonics are curved, which indicates a 
union of the vowel with the consonant m, forming a combi- 
nation. The shading of the phonics at the beginning in- 
dicates that the vowel sound comes first in the combination ; 
heavy shading their whole length indicates that the consonant 
p or b is added. The phonics represented by 7m, em, am, 
rm and Am are written with light strokes of the pen, without 
any shading whatever. All the combinations in the same 
group, commencing with those vowels, are written in the same 
manner. 

1 |m, km, r/m, dm, <rm, i>m, 7m, em, am, am, -m, ^m, Am, 
</>m, win, 7mp, emp, amp, amp, 7rmp, iimp. 

; - ) } ; y 

zi^^^j j ^ ^^ — ■ > > ~ ^* *-y 

In the second line of the second group, the curve is written 
upward at an angle of about fifteen degrees, in the same manner 
as the second line of the first group, which indicates that r is 
joined to the combination ?m, forming a combination of three 
sounds — one vowel followed by two consonants. 

Whenever a vowel precedes two or more consonants; the 
order of the consonants may be transposed. Thus, in the 
second line, the vowel ? is followed by the consonants mr, 
which may be transposed to rm. 

This method of transposition is simply a mental operation, 
the form of the phonic remaining unchanged. It is an opera- 
tion, however, which should be performed with every exer- 
cise in the book. 

The transposition of the final consonants of the last six 
curved phonics in each line, is seldom carried out, as the result 
of the transposition is a harsh, meaningless sound. 

5 



42 MANUAL OF BRACHYGftAPHY. 

The position of the vowel in unshaded phonics is sufficiently 
indicated by principles which the student will understand 
better as he advances. 

2 £mr, ^mr, r/mr, dmr, <rmr, i>mr, 7mr, emr, amr, amr, -mr, 
i^mr, Amr, 0mr, wmr, 7mpr, empr, ampr, ampr, 7rmpr, i^mpr. 

.'^ L , 1 — ^* * ^ — * s~ — x ^ 

Transposition of final mr to rm. 
£rm, arm, r/rm, c/rm, <xrm, i>rm, ?rm, £rm, arm, arm, -rm, ^rm, 
Arm, 0rm, wrm, 7mbr, embr, ambr, ambr, 7rmbr, ^mbr. 

The remarks in reference to the second line, will apply to 
the third, with the exception that being written downward at 
an angle of fifteen degrees, the final consonant I is joined in- 
stead of r. 

3 |ml, aml,r/ml, dml, (7ml, i>ml, 7ml, eml, ami, ami, rfml, ^ml, 
Ami, 0ml, wml, 7mpl, empl, amp], ampl, -mpl, iimpl. 

J i J S ' 

""^;'>^s y ^ ^ Z> ■'* >. 

Transposition of final ml to Im. 
|lm, Hm, riflm, dim, trim, i>lm, 7lm, elm, aim, aim, 7rlm, ^lm, 
Aim, </>lm, c»)lm, tmbl, embl, ambl, ambl, rmbl, ^mbl. 

The same angles are preserved in the third group of three 
lines, and the curve indicates that the consonant n is united 
with the vowel. The heavy shading of the last six phonics 
indicates that g or k is added. 



1 £n, an, r/n, dn, <m, x>n, 7n, en, an, an, xn, i:n, An, </>n, wn, 
7ng-k, eng-k, ang-k 3 ang-k, ~ng-k, ^ng-k. 

— -w^ v — ^ vf v , . ,:J — . <_ w^' 1 — _ 



VOWELS AND COMBINATIONS. 43 

2 <?nr, knr, Wnr, dnr, anr, imr, 7nr, emyanr, anr, -nr, jtnf, 
Anr, </>nr, wnr, 7ngr, engr, angr, angr, -ngr, ^ngr. 

— ^ ^ _, v. .- e V "^ ^ 

Transposition of final nr to rn. 
£rn, krn, Wrn, dm, cm, 0m, 7m, era, am, am, -rn, ^rn, Arn, 
0rn, torn, ?akr, enkr, ankr, ankr, 7rnkr, unkr. 



3 £nl, (ml, ?Vnl, dnl, <ml, i>nl, 711I, enl, anl, anl, ttiiI, ^nl, Anl, 
0nl, wnl, 7Qgl, engl, angl, angl, 7rngl, ^ngl. 

— ^-^— — y — ^c — *— j T — ^>c — ( 

Transposition of final nl to In. 

£ln, Lin, rVln, c/ln, aln, ^ln, 7ln, -Id, aln, aln, -In, ^ln, Aln, 
0ln, win, 7nkl, enkl, ankl, ankl, rrnkl, ^nkl. 



TRANSPOSITION OF THE VOWEL. 

In the second and third groups of the curved combinations 
in Phonic Exercise I, the phonics are shaded at the beginning, 
signifying that the vowel is to be pronounced first in the com- 
bination. In the fourth and fifth groups of the same exercise, 
the shading is at the latter end of the curve, which indicates 
that the vowel sound comes last in the combination. The 
vowel in the combinations containing p or b, and g or Jc, which 
are heavily shaded throughout their entire length, is not trans- 
posed, but retains its position at the beginning. It should be 
observed also, that there is an entire absence of shading in the 
combinations beginning or ending with the vowels 7, e, a, n 
and A, the position of the vowel being determined by initial or 
final hooks, which will be better understood hereafter. 



44 MANUAL OF BRACHYGRAPHY. 

1 m|, ma, mr/, mc/, m<r, mi>, mi, me, ma, ma, m7r, m^ 5 mA, 
m</>, mw, 7mp, emp, amp, amp, -mp, ^mp. 

- > > - _ > > ' ; , ~ > ) 

2 m|r, mhr, mWr, mc/r, m<rr, mi>r, m?r, mer, mar, mar, m7rr, 
m^r, mAr, m$r, man*, 7mbr, embr, ambr, ambr, 7rmbr, 
^mbr. 

^ \ v ■> ^ \ 

^ ^..^ . _ v *r - 



3 m|l, mM, mrVl, mc/l, md, mi>l, m?l, mel, mal, mal, m-l, 
mjxl, mAl, m</>l, mwl, 7mpl, empl, ampl, ampl, -mpl, iimpl. 

„_=s.^ ./...- 7 „ „_ -r- ^_ i^™.. 



1 n|, nfc, nW, nc/, n<r, no, m, ne, na, na, n-, nr, dA, n<p, nw, 
?nk, enk, ank, ank, -rrnk, mk. 

( ( ~~ < / ( l , w C , 
llwi * V , ^-=, \—r ( ***s> L-t- 



2 n|r, nfor, nWr, ndr, nor, nor, mr, nsr, nar, nar, nrr, n^r, 
n/lr, n<j>r, nwr, 7ngr, sngr, angr, angr, mgr, ^ngr. 



3 n|l, nW, nr/1, nc/1, n<rl, ni>l, ml, nd, nal, nal, n7rl, nizl, nAl, 
n</>l, nwl, 7ngl, engl, angl, angl, rrngl, ^ngl. 



VOWELS AND COMBINATIONS. 45 



EXERCISE I. 

The phonic characters in the following exercise should be 
written slowly and carefully over and over, pronouncing aloud 
the sound of each character while in the act of writing it, until 
they can be readily and easily formed and named. Care should 
be taken to form the phonics as nearly as possible like those in 
the exercise. If they are made larger there is danger of the 
slovenly habit being acquired of covering a large amount of 
paper with a very few words, and of making large, ungainly 
characters. On the other hand, the characters should not be 
made so small as to render the writing illegible. The size of 
the characters in the exercise has been settled by experience to 
be the best adapted to speed and legibility, and care should be 
taken to make the writing conform to it as nearly as possible. 
" Whatever is worth doing at all, is worth doing well," and 
the student should always aim at perfection in regard to the 
size and form of his characters. Observe that the final con- 
sonants in the last two lines in the second and third groups 
are transposed. The student should not leave the exercise 
until the transposition is thoroughly understood. 

The principles contained in the Vowel System and Exercise 
I, are elements which run through all the subsequent exercises, 
and the student having mastered these principles, is in pos- 
session of the key to the whole system. 



5* 



46 MANUAL OF BRACHYGRAPHY. 

EXERCISE I. 

1. I, tl, W, C/, <T, S>, ?, £, «, a, 7T, il, A, 0, G). 

2. £r, ^r, r/r, c/r, <rr, sr, 7r, er, ar, ar, 7rr, ^r, Ar, 0r, 6>r. 

3. ?1, fol, r/1, c/1, <rl, j»1, ?1, el, a\, al, n\, al, Al, 01, al. 

1. £m, ^m, r/m, dm, <nn, i>m, 7m, em, am, am, 7rm, 21m, Am, 
0m, wm, 7mp, emp, amp, amp, 7rmp, amp; 

2. £mr, fomr, r/mr, dmr, crmr, i>mr, 7mr, emr, amr, amr, 7rmr, 
jmr, Amr, 0mr, comr, 7mpr, empr, ampr, ampr, 7rmpr, annpr. 

3. 5 ml, ^ml, rVml, dml, ami, i>ml, 7ml, eml, ami, ami, -ml, jiml, 
Ami, 0ml, a)ml, 7mpl, empl, ampl, ampl, 7rmpl, iimpl. 

1. |n, lixij rJn, c/n, <m, i>n, 7n, en, an, an, 7rn, an, An, 0n, am, 
7ng, eng, ang, ang, -ng, ang. 

2. ?nr, anr, r/nr, c/nr, ^nr, x>nr, 7nr, enr, anr, anr, 7rnr, anr, 
Anr, 0nr, amr, 7ngr, engr, angr, angr, Trngr, angr. 

3. |nl, anl, rml, c/nl, tfnl, i>nl, 7nl, enl, anl, anl, 7rnl, anl, Anl, 
0nl, ami, 7ngl, engl, angl, angl, 7rngl, angl. 

1. m£, ma, mrl, md, m<r, m^ 5 m7, me, ma, ma, mx, ma, m^, 
m0, ma), 7mp, emp, amp, amp, -mp, amp. 

2. m£r, mar, mr/r, mc/r, m<xr, mar, m7r, mer, mar, mar, m7rr, 
mar, mAr, m0r, mwr, 7tnbr, embr, ambr, ambr, rmbr, ambr. 

3. m£l, mal, mWl, md\, m^rl, m.el, m7l, mel,mal, mal,m7rl, md, 
m>tt, m0l, ma)I, 7mpl, empl, ampl, ampl, 7rmpl, ampl. 

1. n£, na, nrl, nd, n#, ns>, m, m, na, na, nn, na, n^, n0, no), 
7nk, enk, ank, ank, 7rnk, ank. 

2. n§r, nar, nrVr, nc/r, n<rr, ni>r, n7r, ner, nar, nar, n7rr, nar, 
nAr, n0r, no)r, 7ngr, engr, angr, angr, Trngr, :imgr. 

3. n£l, nal, nr/1, nol, n<rl, nx>l, ml, nel, nal, nal, n7rl, nal, nAl, 
n0l, no)l, 7nkl, enkl, ankl, ankl, 7rnkl, ankl. 



VOWELS AND COMBINATIONS. 47 

PHONIC EXERCISE I— Five Groups. 

lr 7 ^ r ~ "T 'TV* 

"^T 1 ^ r77 ^ 



1 "- ~ ~T" - ?vr 7 T 

. — i — _... „. .. j 

1 ■* ( <* "n r < — ~; hr 



V. 






3 



<V -_ r r l ' w r 



2 r^^A, 
~~ '^ t — *=—^-r 

'-. .......*. 

--, > ) ^~ > ) 



^"7"7" ^ : ^ 



* ^S^ 



v ~ ^™~7 -•- j-^-t ^ '~r 

*' — -r- -j 7— T-77^ — ^••• r ---'- T 

6 ' -^ 7 _ — =_ 7 ^ — ^ j. 

r — ■ ■ I., . 1 - — — — — .... «* 

1; _-^ .^ ^ . ^ _^ 



3,* — 



^ ^ c = 1 * — —^ — s* 



48 MANUAL OF BRACHYGRAPHY. 

Transposition of the final consonants in the second and third 
lines of the second and third groups. 

2. £rm, ta, r/rm, drm, arm, i>rm, 7rm, erm, arm, arm, 7rrm, 
^rm, Arm, </>rm, wrm, ?mpl, empl, ampl, ampl, -mpl, ^mpl. 

3. £lm, Mm, r/lm, c/lm, <rlm, i>lm, 7lm, dm, aim, aim, ;rlm,iilm, 
Aim, </>lm, wlm, 7mbl, embl, ambl, ambl, 7rmbl, iimbl. 

2. |rn, fern, Wrn, drn, <7rn, i>rn, 7rn, ern, arn, arn, 7rrn, ^rn, 
Arn, 0m, torn, 7iikr, enkr, ankr, ankr, -nkr, iinkr. 

3. £ln, Wn, Win, din, <rln, i>ln, 7ln, eln, aln, aln, -In, ^ln ; Aln, 
0ln, <*)ln, 7nkl, gnkl, ankl, ankl, -nkl, n^kl. 

PRACTICAL EXERCISE. 

The Practical Exercises following each Phonic Exercise, are 
divided into groups of three lines each, and numbered 1, 2 
and 3, so as to correspond with the Phonic Exercises. The 
student should make himself so familiar with the Phonic Ex- 
ercises as to enable him to write the phonics representing the 
words in this list, without hesitation. If this direction is 
faithfully observed throughout every exercise, a foundation 
will be laid for a constantly increasing vocabulary of words, 
and by the time the fundamental principles have all been ac- 
quired, the student will be able to write almost anything he 
hears, before he has taken a single reading and writing exer- 
cise. 

1. E, aye, aw, owe, eh, ah, uh. 

2. Ear, air, are, or, oar, ur, ire, our. 

3. Eel, ale, all, ill, ell, ile, oil, owl. 

1. Aim, im, em, am, ime, imp. 

2. Emer, Omar, immer, emmer, ember, amber, arm. 

3. Emil, impel, ample, Elm, alum, amble. 

1. Een, ain, on, own, in, en, an, un, ink. 

2. Honor, owner, inner, anchor, urn, iron, auger. 

3. Annal, angle, Elan, Allen, ankle, uncle. 



VOWELS AND COMBINATIONS. 49 

1. Me, may, mo, moo, my, moi, mow. 

2. Mere, mare, mar, mur, mor, more, moor, myrrh, mire. 

3. Meal, male, maul, mole, mool, mill, mell, mal, mul, mile, 
moil, moul. 

1. Knee, nay, no, knew, nigh, noi, now. 

2. Near, nare, nor, nore, newer, nigher. 

3. Neal, nail, nol, nole, newel, nil, knell, nal, null, nile, noil, 
noul. 



rORD ADDED.— THE HALVING PROCESS. 

The Phonic Exercise on page 55 is also divided into five 
groups of three lines each, and the following remarks have 
reference to that Exercise. 

The consonant t or d is added to a long vowel or combina- 
tion, indicated by a straight heavy mark, by commencing 
heavily and diminishing the pressure upon the pen, as it ap- 
proaches the termination of the character ; and to a short 
vowel or combination, indicated by a straight light mark, by 
beginning lightly and increasing the pressure upon the pen as 
it approaches the termination ; thus : 

J ct, kt, r/t, o^t, tft, i>t, ?t, et y at, ot, 7rt, ait, At, ^t, wt. 

- - _ i i - - __ t j Li..., 

2 Itr, ktr, tftr, dtr, tftr, i>tr, ?tr, etr, «tr, air, ?rtr, -^tr, Mr, ^tr, 
wtr. 



3 cdl, fcdl, r/dl, </dl, rfdl, i>dl, ;dl, edl, adl, *dl, ;rdl, *dl, ;.dl, 
0dl, wdl. 

•.->.' y--- t 'V' 7 / 



50 MANUAL OF BRACHYGRAPHY. 

The consonants t and d, being so nearly alike, are used in- 
discriminately at the pleasure of the writer, or as the context 
may require. In the first line, d should be substituted for t, 
and the whole series of combinations repeated ; as £d, Ud f Wd, 
&c. The consonant d should be substituted for t in the sec- 
ond line, and t for d in the third. 

The consonant t or d, is added to the curved characters by 
making those characters a little more than half their usual 
length ; thus : 

1 fmt, kmt, r/mt, o'mt, tfmt, i>mt, ?mt, emt, amt, omt, 7rmt, 
2imt y /Imt, ^mt, ajmt, ?mpt, empt, ampt, ompt, 7rmpt, ismpt. 

2 fmrt, kmrt, r/mrt, o'mrt, <>mrt, i>mrt, jmrt, emrt, amrt, 
r?mrt, 7rmrt, ^mrt, Amrt, <^mrt, «>mrt, ?mprt, emprt, amprt, 
omprt, 7rmprt, ^mprt. 

zL*- l-i it£ J1..ji^J.2^^.^ ii_ 



3 ? mlt, kmlt, r/mlt, (/mlt, <rmlt, i>mlt, ?mlt, emit, amlt, nmlt, 
7rmlt, ^mlt, Amlt, ^mlt, ^mlt, Jinplt, emplt, amplt, <?mplt, 
7rmplt, ^mplt. 



^JL^J^L^ ZUL-2 jJ2^>. JL 



1 cnt, knt, r/nt, </nt, <rnt, i>nt, ;nt, ent, ant, rmt, rcnt, ^nt, 
Ant, ^nt, amt, mkt, enkt, ankt, onkt, Trnkt, iaikt. 



...s^.. 






VOWELS AND COMBINATIONS. 51 

2 ^nrd, knrd, r/nrd, //nrd, <rnrd, i>nrd, ?nrd, enrd, anrd, rmrd, 
:rnrd, a:nrd, Anrd, ^nrd, wmd, mkrd, enkrd, ankrd, 
rvnkrd, /rnkrd, ^nkrd. 

' \J ^ K ~ J ^ \ ^ ^ . -> J *-\ 



3 £nld, knld, r/nld, otold, ^nld, i>nld, mid, enld, anld, onld, 
Trnld, ^nld, >*nld, </>nld, wnld, ?ngld, engld, angld, ongld, 
Trngld, jmgld. 



Now, commence at line 1, £mt, and substitute d in place of 
t, and repeat. 

Transposition. — Observe that in the combinations in 
which t or d is added, the second and third line of each group 
contain three final consonants, thereby admitting of three dif- 
ferent methods of transposition ; as fmrt, £mtr, £rmt. In line 
3, £mlt, £mtl, |lmt. 

In lines 2 and 3 of the n combinations, the same transposi- 
tion occurs. 



In the fourth and fifth groups, the transposition of the 
shading to the latter end of the phonic indicates that the 
vowel is transposed ; as : 

1 m?t, mkt, mr/t, mc/t, m^t, mi>t, m?t, met, mat, mot, 
m-t, m^t, mAt, m^t, mwt, jmbt, embt, ambt, ombt, 
-mbt, limbt. 



> , n 

— '-j — 



52 MANUAL OF BRACHYGRAPHT. 

2 mftr, mktr, mr/tr, nWtr, m^tr, mi>tr, m?tr, metr, matr, 
m^tr, m7rtr, m^tr, m^tr, m^tr, niwtr, ?mbrt, embrt, ambrt, 
ombrt, 7rmbrt, 2imhrt 

~"7> ^ ?* ' u "\ -* — c -yr — :*»*—y 



3 mftl, mktl, mr/tl, nWtl, m^tl, mi>tl, m?tl ? metl, matl, m^tl, 
m7rtl, miitlj m?X\, m^tl, mwtl, ?mplt, emplt, amplt, omplt, 
Trmpit, ^rnplt. 

i i -> J ) 



1 n?d, nM, nr/d, n^d, n<rd, ni>d, n?d, nsd, nad, n^d, nrd, 
n^d, nAd, n^d, nwd, &c. 



r^ 



Remark. — The last six heavily shaded phonics are never, 
in any case, subject to transposition, either of vowels or con- 
sonants. 

2 nf dr, nkdr, nr/dr, noMr, n<rdr, ni>dr, mdr, nedr, nadr, nodr, 
n7rdr, n^dr, nAdr, n^dr, no>dr, &c. 

^'^ i 
^^^.^..^^^....^..^..^^.^^^^^.^ j. ^, ^- 1 ^. 

3 n?dl, nkdl, ntfdl, noMl, n^dl, n^dl, n?dl, nedl, nadl, n^dl, 
nrcdl, n^dl, nAdl, n^dl, nwdl. 

\ ^^ L—f i^^. jj £ — _^. w 1—^, 



VOWELS AND COMBINATIONS. 53 



EXERCISE II. 

The student should not pass over Exercise II until he has 
made himself complete master of it. He should be able, not 
only to name each phonic quickly and correctly, but to trans- 
pose the final consonants in the second and third lines of each 
group readily and accurately. 

Some difficulty may be experienced in writing the phonic 
characters correctly at first, but by exercising great care in 
the formation of each character, the difficulty will soon be 
overcome. Like learning the common long-hand, it must be 
performed slowly and carefully at first. 



54 MANUAL OF BRACHYGRAPHY. 

EXERCISE II. 

1. ft, Utj rlt, eft, <rt, />t, ;t, et, at, fit, 7rt, 2it, At, 0t, a>t. 

2. ftr, ktr, r/tr, o^tr, <rtr, i>tr, ?tr, etr, atr, otr, 7rtr, ^tr, Atr, 0tr, 
wtr. 

3. ?tl, ktl, 7/tl, oW, €Ttl, *tl, Jtl, £tl, tttl, rttl, TTtl, ■ *tl, Atl, #1, 

all. 

1. fmd, kmd, r/md, o'md, cmd, i?md, jmd, emd, amd, omd, 
7rmd, 2imd, Amd, ^md, amid, ?mpd, empd, ampd, r?mpd, 
7rmpd, zmpd. 

2. <?mrd, kmrd, r/mrd, otard, <rmrd, i>mrd, ;mrd, emrd, amrd, 
nmrd, 7rmrd, 2:mrd, Amrd, ^mrd, wmrd, ;mprd, emprd, 
amprd, &c. 

3. £mld, kmld, r/mld, ^mld, amid, i?mld, ?mld, emld, amid, 
mnld, 7rmld, ^mld, Amid, ^mld, wmld, ?mpld, empld, 
ampld, &c. 

1. fnd, knd, tfnd, Vnd, <7nd, i>nd, ?nd, end, and, ond, Trnd, 
2ind, And, ^nd, wnd. 

2. fnrt, knrt, r/nrt, <mrt, <rnrt, xmrt, mrt, enrt, anrt, rmrt, 
Trnrt, ^nrt, Anrt, ^nrt, wnrt, mgrt, engrt, angrt, ongrt, 
rngrt, ^ngrt. 

3. fnld, knld, r/nld, <mld, <mld, i>nld, mid, enld, anld, onld, 
7rnld, imld, Anld, ^nld, ^nld, mkld, enkld, ankld, rmkld, 
Trnkld, ^nkld. 

1. mfd, mkd, mr/d, mo'd, m^d, mi>d, m?d, med, mad, mod, 
m7rd, m^d, mAd, m^d, mwd, jmpd, empd, ampd, &c. 

2. mftr, mktr, mr/tr, m</tr, m^tr, m-etr, nutr, metr, matr, 
motr, mTrtr, m^tr, mAtr, m^tr, mwtr, jmptr, emptr, amptr, 
&c. 

3. mftl, mktl, mr/tl, m^tl, m^tl, mi>tl, m?tl, metl, matl, motl, 
m7rt), m^tl, mAtl, m^tl, m^tl, jmptl, emptl, amptl, &c. 

1. nft, nkt, nr/t, n#t, n^t, ni>t, n?t, net, nat, not, n7rt, n^t, 
nAt, n^t, nwt, mkt, enkt, &c< 

2. nfdr, nkdr, nr/dr, n^dr, n<rdr, ni>dr, n?dr, nedr, nadr, nodr, 
n7rdr, n^dr, nAdr, n^dr, nwdr, mgtr ; engtr, &c. 

3. nfdl, n/tdl, nr/dl, no'dl, n<rdl, ni>dl, n?dl, nedl, nadl, nodi, 
n7rdl, n^dl, nAdl, n^dl, nwdl, ?ngdl, engdl, angdl, &c. 



1 


r-_ i 


VOWELS AND COMBINATIONS. 

PHONIC EXERCISE 11. 

j — - • ' ' _ 


55 


1 

3 


^ \ 


> 


1 -; 'w' 

•-- ^ 1....V...... \ -.. 




^ 

^ _ ^ 


/ 


> — '' ./ .^-_ / 








7 = ^>- r ».~ T - / 




1 


- ■) 


) 


- > j \. j - > 


) 


2 


-^ s 


^ 




> 


3 


•*- 
• • • ^ "s 


j... 


"^ o T "^> *> 

7 ^ 7 ' J S" 


> 

J 

"J 


1 


~ ( 


...L. 


^ - <-.c ■ ./...r:.w i_ 


< ,.. 


2 
3 


v. r 


..L 

L. 


t ^ ~x'— -* ^ 

r ^ "'"T' : '"" ' SJr "~ 


C 

r . 
r 


1 




) 


-» > ) N..~~ > 


) v . 


9 X 


*-> 

/^ 

?rs" L 




... v C....C. > x <r.. 


> 


3 








•\ 




J N J > > 


/ 




^ C 


JL 


— C ( ^ ^ i 


( 


1 

o 




..A 


*'X ^ r k & 




- 
3 


l_V 


c 


l ^',^ "'_/.., 


k: 
< . 


\- 




7 *= C * «? — 


r 



56 MANUAL OF BRACHYGRAPHY. 

Transposition of the final consonants in the second and third 
lines of each group. 

2. ?rd, krd, r/rd, oM, erd, .erd, ?rd, erd, ard, aid, 7rrd, 2ir&, 
Ard, 0rd, wrd. 

3. fit, kit, r/lt, (/It, ^lt, .pit, ;lt, elt, alt, alt, Trlt, idt, Alt, ^lt, 
colt. 

Remark. — The last six combinations in each line are not 
transposed. 

2. frmd, &rmd, r/rmd, </rmd, armd, ^rmd, ;rmd, ermd, armd, 
r?rmd, Trrmd, ^rmd, Armd, ^rmd, wrmd. 

3. flmd, &lmd, r/lmd, olmd, <rlmd, i>lmd, ;lmd, elmd, almd, 
rjlmd, 7rlmd, Jmd, Almd, </>lmd ; a;lmd. 

2. <?rnt, krnt, r/rnt, o'rnt, ernt, i>rnt, jrnt, ernt, arnt, r?rnt, 
Trrnt, ^rnt, Arnt, ^rnt, wmt. 

3. flnt, Mnt, r/lnt, olnt, elnt, i>lnt, ;lnt,elnt, alnt, olnt, 7rlnt, 
^lnt, Alnt, iphit, colnt. 

2. mfrt, mkrt, mr/rt, nWrt, m<rrt, mx>rt, m;rt, mert, mart, 
mnrt, mrrt, m^rt, mArt, m^rt, mwrt. 

3. m£ld, mkld, mr/ld, mold, meld, m^ld, nuld, meld, maid, 
m^ld, m7rld, m^ld, mAld, m^ld, m^ld. 

2. nerd, nfcrd, nr/rd, ntfrd, nerd, n.erd, n?rd, nerd, nard, nr?rd, 
n7rrd, n^rd, nArd, n^rd, n^rd. 

3. nfld, nkld, nr/ld, nold, neld, m>ld, n;ld, neld, nald, nr?ld, 
n7rld, nJd, nAld, n^ld, n^ld. 

PRACTICAL EXERCISES. 

1. Eat, eight, ought, it, et, at, ut, out, aid, odd, owed, adtl 

2. Eater, outer, otter, odor, adder, odder, udder, aired, art. 

3. Addle, idle, ailed, old, oiled. 

1. Aimed. 

2. Armed. 

3. Humbled. 



VOWELS AND COMBINATIONS, 57 

1. Owned, end, and, inked, ain't, ant. 

2. Honored, angered, anchored, earned, ironed, errant, enter, 
under. 

3. Angled, island, an die. 

1. Meet, mate, mot, mote, moot, mit, met, mat, mite, meed, 
made, Maud, mode, mood, mid, mad, mud. 

2. Metre, motor, mitter, matter, mutter, mitre, madder, mart, 
mort, moored, marred. 

3. Mottle, metal, model, modal, medal, muddle, mailed, 
mauled, mould, milled, mulled, mild, malt, molt, milt, melt, 

1. Neat, naught, note, knit, net, gnat, not, nut, night, need, 
nod, node, nood, nid, ned. 

2. Neater, knitter, nitre, nadir, neared. 

3. Nettle, needle, noddle, noodle, knelt, nealed, nailed. 



EXERCISE III. 

INITIAL W HOOK. 

The consonant w, preceding a phonic vowel or combination, 
is joined to it by a small initial hook, written under horizontal, 
and to the left of perpendicular vowels and combinations, 
and conforms to the inclination of the phonic upward or 
downward, or to the right or left, as the case may be. 

The first two exercises consist of five groups each; the 
last two groups in each exercise being given for the purpose 
of illustrating the transposition of the vowel. Exercise III 
consists of two parts, divided into three groups each. The 
first part simply shows the vowels and combinations, as in 
Exercise I, with the w hook joined to them ; the second part 
shows the same with t or d added, as in Exercise II, 



6* 



58 MANUAL OF BRACHYGRAPHY. 

EXERCISE III. 

1 . wf, wk, wtf, wo 1 , w<r, Wi>, w;, we, wa, wo, W7r, w^, wA, w^,wo>. 

2. w?r, wkr, wr/r, wo'r, w<xr, Wi>r, w?r, wer, war, wor, W7rr, 
w^r, wAr, w^r, wwr. 

3. wfl, wkl, Wr/1, wol, w<rl, Wi>l, WJl, Wei, Wal, Wol, W7rl, W2il, 

wAl, w^l, wcol. 

1. wfm ; wkm, w//m, wo'm, w<nn, Wi>m, w;m, wem, warn, 
worn, W7rm, w^m, wAm, w^m, wwm. 

2. wfmr, wkmr, wr/mr, woto, w<rmr, Wi>mr, w?mr, wemr, 
wamr, womr, W7:mr, w-^mr, wAmr, w^mr, w«>mr, w?mpr, 
wempr, wampr, wompr, w-mpr, w^mpr. 

3. wcml, wkml, wr/ml, w^ml, w<rml, wi>ml, w?ml, weml, waml, 
woml, WTiml, w^ml, wAml, w^ml, wasml, w?mpl, wempl, 
wampl, wompl, wjrmpl, w^mpl. 

1. wfn, w&n, wtfn, W(/n, w<m, wi>n, w;n, wen, wan, won, W7rn, 
w^n, wAn, w^n, wam,w?ng, weng, wang, wong, W7rng, w^ng. 

2. wcnr, wknr, wr/nr, wotor, wenr, w.?nr, w;nr, wenr, wanr, 
wonr, wrnr, w^nr, W/lnr, w^nr, wwnr, wmkr, wenkr, 
wankr, wonkr, wrnkr, w^nkr. 

3. wcnl, wknl, wr/nl, woW, wenl, wxml, w?nl, wenl, wanl, 
wonl, W7rnl, w^nl, w/nl, w^nl, w^nl ; wmkl, wenkl, wankl, 
wonkl, W7rnkl, w^kl. 

1. Wet, Wkt, Wr/t, Wo't, W<rt, Wi>t ; W?t, Wet, Wat ; Wot, WTit, 
Wi:t, wAt, W^t, Wwt. 

2. wctr, wktr, wr/tr, w^/tr, w<rtr, wi>tr, w;tr, wetr, watr, wotr, 
W7rtr, w^tr, wAtr, w^tr, w^tr. 

3. wftl, wifcl, wtftl, wo'tl, w^tl, w^tl, w?tl, wetl, watl, wotl, 
w-tl, w^tl, wAtl, w^tl, w^tl. 

1. wfmt, wkmt, wr/mt, w^mt, w<rmt, wi>mt, w?mt, wemt, 
wamt, womt, WTrmt, w^mt, wAmt, w^mt, wwmt, &c. 

2. wfmrt, wkmrt, wr/mrt, wo'mrt, wemrt, Wi>mrt, w?mrt, 
wemrt, wamrt, womrt, W7rmrt, w^mrt, wAmrt, w^mrt, 
w<omrt,WJinbrt, wembrt, wambrt, wombrt, WTrmbrt, wombrt. 

3. wfmlt, wkmlt, w/mlt, w^/mlt, w^mlt, Wi>mlt, w^mlt, wemlt, 
wamlt, womlt, W7rmlt, w^mlt, wAmlt, w^mlt, wwmlt, 
wjmblt, wemblt, wamblt, womblt, WTrmblt, w^mblt. 

1. wfnt, w^tnt, w-r/nt, wo'nt, went, Wi>nt, wmt, wsnt, want, 
wont, F^nt, w^nt, wint, w^nt, w^nt, wmkt, wenkt, 
wankt, wonkt, w^nkt, w^nkt. 

2. wentr, w^cntr, wr/ntr, wo'ntr, wentr, Wi>ntr, wmtr, wentr, 
wantr, wontr, w-ntr. w^ntr, wAntr, w^ntr, w^ntr, wmktr, 
wenktr, wanktr, wonktr, W7rnktr, w^nktr. 

3. wcntl, wkntl, w^/ntl ; wo'ntl, wentl, wi>ntl, wmtl, wentl, 
wantl, wontl, W/rntl, wimtl, w^ntl, w^ntl, wwutl, wmklt, 
wenklt, wanklt, wonklt, W7:nklt, w^nklt. 



VOWELS AND COMBINATIONS. 59 

PHONIC EXERCISE ill. 



1 


..r. «/j. 


1 c- 1 

«\ «- v. ■■■■*■ 


1 1 

.1 , .. .. i 




2 


i ; . 1 

...A \ 




3 




.2 <~- *- « J. 


; ? ? 

7 ,..,..., 




1 




1 ^ 


j r 

' . V .:f^.<V_./. 


? , 


? t 


..c..^..._...l 


.3 C...<c. 1.. 






3 
1 


-..^. 2.. 

j^ 

c 

***_ L 


.2. .^...^ L 

.2 ~^ i. 


*f > ^ 

JLi ^....^...^ •?... 

"it \ 

.1 7 - w -.^ v 




2 
3 


1 

z. -^1. 


..A. .-uT^L-JL 

.2 , -I... f ..^.. S w 1... 

7 r o^ 


A ., 


1 

2 


■r- 1 
.<Kr~ 

.cr. 


1 ~ ^ •? 

i ^' 

\ '.<-• v 


X 1 

..1 . '■ ■ -.% . 





3 




A < 


; ; 
; * 




1 




7 ^ 
..!._ ~ ~ 1. 


. .? ^ <■> 


....). 


2 


£^: 


1 ** 
Y .... - ;- ^ 


."l _ •* -r rr-__Jl 


7 


3 
1 




1 < r " 


— u_.„ —j. £- 

• i n^>„ 


7 


7 *\ 

r - -■ "V 


? - T n-ss'L 


.1 


2 


c^ 




X ±J«j!LL* 


1 

\ 


3 


e" 


x" =?■ 

- - ? 


-v. ^ «^ 


V 




*V_ 


? - s - 


^ C '" X" 


1 



60 MANUAL OF BRACHYGRAPHY. 

Transposition of final consonants. 

Remark. — Observe that there is but one final consonant in 
the second and third lines of the first group, in part first of 
Exercise III, and consequently there can be no transposition ; 
the transposition must be of the second and third lines of the 
second and third groups. 

2. wfrm, wkrm, wr/rm, wo'rm, warm, worm, w?rm, wsrm, 
warm, worm, w~rm, w^rm, wArm, w^rm, wwrm. 

3. wflm, wklm, wtflm, wolm, w^lm, wi>lm, w;lm, welm, walm, 
wolm, W7rlm, w^lm, wAlm, w^lm, wwlm. 

2. w£rn, wkrn, w/rn, w^rn, warn, wi>rn, w;rn, wern, warn, 
worn, WTrrn, w^rn, wArn, w^rn, wa>rn. 

3. wfln, wkln, wr/ln, w</ln, w^ln, Wi>ln, w?ln, wdn, wain, 
woln, WTrln, w^ln, w/ln, w^'ln, w^ln. 

2. wcrt, wkrt, wtfrt, w</rt, wort, w.ert, w;rt, wert, wart, wort, 
W7rrt, w^rt, wM, w^rt, w^rt. 

3. wfld, wkld, wtfld, wold, w<rld, wx>ld, w;ld, weld, wald, 
wold, W7rld, w^ld, wAld, w^ld, w^ld. 

2. wlrmd, wkrmd, wr/rmd, wotond, w<rrmd, wi>rmd, w?rmd, 
wsrmd, warmd, wormd, wrrmd, w^rmd, w^rmd, w^rmd, 
w^rmd ; also, wfmtr, wkmtr, wr/mtr, w^/mtr, &c. 

3. wflmd, wklmd, wr/lmd, wolmd, wa-lmd, Wi>lmd, w?lmd, 
welmd, walmd, wolmd, wdrnd, w^lmd, wAlmd, w^lmd, 
wwlmd; also, wfmtl, wkmtl, wtfmtl, &c. 

2. wfrnt, wkrnt, wr/rnt, wo'rnt, warnt, wi>rnt, w;rnt, wernt, 
warnt, wornt, w-rt, w^rnt, wArnt, w^rnt, wwrnt ; also, 
wfntr, wkntr ; wtfntr, &c. 

3. wflnt, wklnt, wr/lnt, wolnt, w^lnt, wi>lnt, w;lnt, welnt, 
walnt, wolnt, W7rlnt, w^lnt, wAlnt, w^lnt, wo>lnt; also, 
wfntl, wkntl, wr/ntl, w^ntl, &c. 



VOWELS AND COMBINATIONS. 61 

PRACTICAL EXERCISES. 

1. We, way, woe, woo. 

2. Wier, wear, war, wore, wooer, wire. 

3. Weal, wale, wall, will, well, wool, wile. 

1. Wim, wem, wain, womb. 

2. Wimmer, wamper, warm. 

3. Wimmel, wimble, wemble, wamble, wilem. 

1. Ween, [wane, wan, one, woon, win, wen, won, wine, wing, 
wink. 

2. Weener, waner, winner, winker, warn, worn. 

3. Walen, wellan, winkle, wangle. 

1. Weed, wade, wad, wid, wed, wide, wait, wot, wit, wet, 
wight, would. 

2. Waiter, water, wetter, weeder, wider, wierd, wired, wart. 

3. Wattle, wittle, waddle, wield, wailed, walled, wold, willed, 
welled, wooled, wild, wait, wilt, welt. 

1. Weaned, waned, wooned, winned, wend, wand, wind, 
winged, wint, wont, went, winked. 

2. Warned, warrant, winter. 

3. Welland, wendle. 



EXERCISE IV. 
INITIAL R HOOK. 

The consonant r, preceding a phonic vowel or combination, 
is joined to it by a large initial hook, written under horizontal, 
and to the left of perpendicular vowels and combinations, and 
conforms to the inclination of the phonic, upward or downward, 
or to the right or left, as the case may be. The r hook is 
similar to the w hook in every particular, except size and 
sound ; it is joined in the same manner. 

The Exercise is divided into two parts of three groups each. 
The first part consists of simple vowels and combinations, with 
the r hook joined ; the second part consists of the same, with 
the consonant t or d added. 



62 MANUAL OF BRACHYGRAPHY. 

EXERCISE IV. 

1. R?, rk, r?/, r^, y<t, rx>, rj, re, ra, m, rrc, r^, r^, r0, rco. 

2. R£r, rkr, rtfr, ro^r, rar, ri>r, nr, rer, rar, ror, r^r, riir, r^r, 
T<pr, rwr. 

3. Rfl, rkl, rtfl, rol, r<rl, ri>l, r?l, rel, ral, rrvl, tttI, ril, rAl, 
r^l, r^l. 

1. Rfm, rkm, rr/m, r^m, r<rm, ri>m, r?m, rem, ram, r^m,r7rm, 
r^m, rAm, r0m, rwm, r?mp, remp, ramp, romp, r7rmp, r^mp. 

2. Rfmr, r^mr, rr/mr, rotor, r<rmr, ri>mr, r?mr, remr, ramr, 
romr, rrmr, rimr, rAmr, r^mr, rwmr, r;mpr, rempr, rampr, 
rompr, r7rmpr, r^mpr. 

3. Rfml, rkml, rtfml, r</ml, r<rml, ri>ml, r?ml, reml, rami, 
roml, rrml, r^ml, r^ml, r^ml, r^ml. 

1. Rfn, rkn, rr/n, r^n, r<rn, ri>n, rm, ren, ran, rrm, r^n, r^n, 
rAn, r^n, ram, r;ng, reng, rang, rong, r7rng, ri:ng. 

2. R£nr, rknr, n/nr, r^nr, r<mr, rx>nr, rmr, renr, ranr, ronr, 
r7rnr, r^nr, rAnr, r^nr, rconr, rmgr, rengr, rangr, rongr, 
rrcngr, r^ngr. 

3. R£nl, rknl, rr/nl, ro'nl, r<rnl, rx>nl, rml, renl, rani, ronl, 
rrnl, r^nl, r^nl, r^nl, ra>nl, nnkl, renkl, rankl, rrmkl, 
r-nkl, r^nkl. 

1. Red, rkd, rr/d, roM, r^d ; ri>d, r;d, red, rad, rr?d, r7rd, r^d, 
rAd, r^d, rwA. 

2. R£dr, r&dr, rr/dr, roMr, r^rdr, rjodr, r;dr, redr, radr, rodr, 
r-dr, r^dr, r^dr, r^dr, rojdr. 

3. Rfdl, rkdl, rr/dl, ro'dl, r<rdl, rjpdl, r?dl, redl, radl, rr?dl, r7rdl, 
r^dl, r^dl, r^dl, r^dl, 

1. Rfmd, rkmd, rtfmd, rotod, r<xmd, ri>md, r7md, remd, ramd, 
romd, r;rmd, r^md, rAmd, r^md, rwmd, r?mpd, rempd, 
rampd, rompd, r-mpd, r^mpd. 

2. Rfmrd, rkmrd, rr/mrd, r^mrd, r<rmrd, rc>mrd, r?mrd, 
remrd, ramrd, romrd, r7rmrd, riimrd, rAmrd, r^Amrd, 
r^mrd, r?mprd, remprd, ramprd^, romprd^ r^mprd, r^mprd. 

3. Rfmld, r^cmld, rw'mld, ro'mld^ r<rmld, ri>mld, r?mld, remld, 

ramld, romld, r-mld, riimld, rAmld, r^mld, r^mld, r?mpld, 
rempld^, rampld, rompld, r^mpld, r^mpld. 

1. Rfnt, r^tnt^ rr/nt, ro^nt, r^rnt, ri>nt, rmt, rent, rant, rr?nt, 
r/rnt, ri:nt, r^nt, r^nt, r^nt, r;nkt, renkt, rankt, ronkt, 
r7rnkt, r^nkt. 

2. R£nrd, r^tnrd, rr/nrd, r^nrd, r<rnrd, rimrd, r;nrd, renrd, 
ranrd, ronrd, r^rnrd, r^nrd, r^nrd, r^nrd, r^nrd, r;ngrd, 
rengrd, rangrd, rongrd, rTrngrd, riingrd. 

3. Rfnlt, rblt, rr/nlt, n/nlt, r<7nlt, ri>nlt, r;nlt, renlt, ranlt, 
rrmlt, r7rnlt, r^nlt, r^nlt, r^nlt, r^nlt, r;nglt. renglt, 
ranglt, rrmglt, renglt, renglt. 



VOWELS AND COMBINATIONS. 63 



1 


<~ r- "> 


PHONIC EXERCISE IV. 

, c-^ 3 * 1 \. ' ' 


2 


- ^ cT 

Os 

-o 1 

o 




1 >\ f\ 

.^„„ „.£\ .. 


3 
1 

9 


0-^.^.Pi 1....1. 

7 c 

9 ■'<*:<* 2 


..^ /v ' 


7 9^ , 

- r\.j£ljC!L. !). - 


.3 ' <r cr .!) 1 


^ «L£L£ !13l_l 


3 

1 

2 
3 


cr 

!^.. £. 

c^p, 


.2 fla 2_2_ 

7 ^ 


..„ .a.£.cx ^-2-— 

_. __.a.J^jcw "L-f....- 

7 ( .■■■:■■ «V 7 


■ J 
— -^■•-SL 




1 


-.c,........l 


a *-<- a n 


1 T 

.. . ■• . i 


2 
3 




1 f- 
..1 t„.£. *JSL 

J?.... n ...^....c* !......?.. 

..2 r....e 1...D. 


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1 


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3 

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2 
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cr 

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<> If. (_ 




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jy - .7.- - ^- - C 



64 MANUAL OF BRACHYGRAPHY. 

Transposition of jina I consonants, 

2. Rfrm, rkrm, rr/rm, rotan, r<rrm, ri>rm, r?rm, rerm, rami, 
rorm, r-rm, ri:rm, rArm, r^rm, rwrin. 

3, R?lm, rklm, rr/lm, Mm, rdm, ri>lm, r?lm, relm, ralm, 
rr?lm, r7rlm, r^lm, rAlm, r^'lm, r^lm. 

2. Rfrn, rkrn, rtfrn, r^rn, r<rrn, ri>rn, r;rn, rern, rarn, rr?rn, 
r7rrn, r^rn, rArn, r^rn, rwrn. 

3. Rfln, rkln, rr/ln, roln, r<rln, ri>ln, r?ln, rein, rain, rrrin, 
r7rln, r^ln, r>Un, r^ln, r^ln. 

2. Rfrd, rkrd, rr/rd, r</rd, r<rrd, ri>rd, r;rd, rerd, rard, r^rd, 
r7rrd, r^rd, rArd, r^rd, r^rd. 

3. R£ld, rkld, rr/ld, raid, r<rld, ri>ld, r;ld, reld, raid, raid, 
r7rld, r^ld, r^.ld, r^ld, rwld. 

2. R£rmd, rkrmd, rr/rmd, r^rmd, r<rrmd, ri>rmd, r?rmd, rermd, 
rarmd, rnrmd, r7rrmd, r^rmd, rArmd, r^rmd, r^rmd. 

3. Rflmd, rklmd, rr/lmd, r</lmd, r<xlnid, ri>lmd, r?lmd, rslmd, 
ralmd, rrvlmd, rTrlmd, rrlmd, rAlmd, r^lmd, r^lmd. 

2. R£rnd, rkrnd, rr/rnd, r^rnd, r<rrnd, ri>rnd, r;rnd, rsrnd, 
rarnd, r^rnd, r?rrnd, r^rnd, rArnd, r^rnd, rwrnd. 

3. Rflnd, rklnd, rr/lnd, rolnd, r<rlnd, ri>lnd, rjlnd, relnd, ralnd, 
rr?lnd, r7rlnd, r^lnd, rAlnd, r^ld, r^lnd. 

2. Rfmdr, rkmdr, rr/mdr, rotoidr, r^rmdr, ri>mdr, r;mdr, remdr, 
ramdr, rrvmdr, r7rmdr, r^mdr, rAmdr, r^mdr, rwmdr. 

3. R?mtl, rkmtl, rr/mtl, ro'mtl, r<rmtl, r.pmtl, r?mtl, remtl, 
ramtl, rr?mtl, r7rmtl, rirmtl, rAmtl, r^mtl, r^mtl.^ 

2. Rfndr, rkndr, rr/ndr, r^ndr, r<mdr, rcmdr, rmdr, rendr, 
randr, rrmdr, r7rndr, r^ndr, rindr, r^ndr, ramdr. 

3. R£ntl, rkntl, rr/ntl, r^/ntl, r<rntl, rontl, rmtl, rentl, rantl, 
rrmtl, r7rntl, r^ntl, rAntl, r^ntl, rwntl. 

PRACTICAL EXERCISES. 

1. Ray, raw, row, rue, rye, row, roy. 

2. Rear, rare, roar, roor. 

3. Real, rail, rail, roll, rule, rill, ral, rile, royal, rowel. 

1. Ream, rom, Rome, room, rim, rem, ram, rum, rhyme, rimp, 
ramp, romp, rump. 

2. Reamer, roamer, roomer, rimmer, remmer, rammer, rhym- 
er, romper. 

3. Rummel, realm, ramble, rumble, rumple. 



VOWELS AND COMBINATIONS. 65 

1 . Rain, roan, roon, rin, wren, ran, ron,^ run, Rhine, ring, 
rink, rang, rank, wrong, rung. 

2. Runner, rancor. 

3. Reynal, runal, wrinkle, wrangle. 

1. Rate, rot, rote, root, writ, rat, rut, right, rout, reed, rod, 
rode, rood, rid, red, ride, roid. 

2. Reader, raider, redder, rudder, rider, writer, router, reared, 
roared. 

3. Riddle, raddle, ruddle, realed, railed, rolled, ruled, rilled, 
riled. 

1. Reamed, roamed, roomed, rimmed, rammed, rhymed. 

2. Rampart. 

3. Rummeld, rambled, rumpled. 

1. Rained, rind, round, rinked, ranked, rant, runt. 

2. Reynard, Rinehard, rancred, ranter, render, runter, 

3. Roland, wrinkled, wrangled, rankled. 



EXERCISE V. 

INITIAL F AND V HOOKS. 

The initial consonant f is represented by a small light hook 
written on the upper side of horizontal, and on the right of 
perpendicular vowels and combinations, conforming to the 
angle at which the phonic may be written. 

The v hook is similar to the / hook in form, being made 
in the same way, but with a heavy pressure upon the pen. 

Both / and v are labia-dental sounds, that is, made by the 
lips and teeth, and being thus related in sound, they are prop- 
erly represented by phonics related in form. 

In practical reporting, the distinction between / and v is 
seldom observed, v being written with a light stroke as well as 
/. Cases are liable to occur, however, where it becomes 
necessary to represent the sound of v fully and distinctly, and 
then it should be done in the manner described above. 

Exercise V is divided into two parts ; the first part repre- 
senting simple vowels and combinations, with the /hook joined ; 
the second part showing the same, with the addition of t or d } 
as in Exercises III and IV. 

7 



66 MANUAL OF BRACttYGRAPHY. 

EXERCISE V. 

1. Fc, ft, fr/, fi/, fo, fo, fi, fe, fa, fi?, fir, fr, fi, f0, fa,. 

2. f~r, fitr, fi/r, ft/r, for, for, fir, fer, far, for, firr, fi:r, fir, f^r, fiwr. 

3. fll,' fid, M, fol, fol, fol, fil, fel, fal, fol, M, M 9 fil, tyl, fail. 

1. frin, fern, fr/m, fi^m, fom, fom, fim, fern, fam, fom, f7rm, 
fern, fiin, fym, fiam, f;mp, fomp, famp, fomp, firmp, fomp. 

2. ffmr, ficmr, fo'mr, fo'mr, fcmr, &mr, fimr, fomr, famr, fomr, 
firmr, fcimr, fimr, f^mr, fo>mr, fimpr, fompr, fampr, fompr, 
fompr, fompr. 

3. fcml, ftml, fV/ml, ft/ml, foml, foml, f;ml, foml, faml, foml, 
foml, foml, find, f^ml, fo>ml, &c. 

1. fen, ftn, fo/n, fon, fon, fon, fin, fen, fan, fon, firm, fon, fin, 
fyn, fom, fing, feng, fang, fong, fong, fong. 

2. fenr, ftnr, fo'nr, fonr, fonr, fonr, finr, fenr, fanr, fonr, firnr, 
fonr, finr, f^nr, fo>nr, fingr, fengr, fangr, fongr, fongr, 
fongr. 

3. f?nl, fiml, fr/nl, fonl, fonl, fonl, finl, fenl, fan], fonl, fonl, 
fonl, finl, fynl, foml, fingl, fengl, fangl, fongl, fongl, fongl. 

1. Fft, at, fo't, fot, fot, fot, fit, fet, fat, fot, firt, 6ft, fit, fyt, fo,t. 

2. fotr, fotr, rV/tr, fotr, fotr, fotr, fitr, fetr, fatr, fotr, fotr, 
fotr, fitr, f^tr, fo^tr. 

3. fodl, ftdl, fo'dl, fi/dl, fodl, fodl, fidl, fodl, fadl, fodl, fodl, 
fodl, fid*, f^dl, &dl. 

1. ffmd, ftmd, fV/md, fomd, fomd, fomd, fimd, femd, famd, 
fomd, fomd, fomd, fimd, fymd, fo>md, fimpd, fempd, 
fampd, fompd, firmpd, fompd. 

2. ffmrd, fianrd, fi/mrd, fomrd, fomrd, fomrd, fimrd, femrd, 
famrd, fomrd, fomrd, fomrd, fimrd, f^mrd, fwmrd, fimbrt, 
fembrt, fambrt, fombrt, fombrt, fimbrt. 

3. ffmld, ftmld, fY/mld, fomld, fomld, fomld, fimld, femld, 
famld, fomld, fomld, fi^mld, fimld, f^mld, fwmld, fimbld, 
fsmbld, fambld, fombld, firmbld, fimbld. 

1. fend, fond, fi/nd, fi/nd, fond, fond, find, fend, fand, fond, 
fxnd, fimd, find, f^nd, fwnd, finkt, fenkt, fankt, fonkt, 
firnkt, fimkt. 

2. ff nrd, fcnrd, fi/nrd, fi/nrd, fonrd, fi>nrd, finrd, fenrd, fanrd, 
frmrd, firnrd, fi^nrd, finrd, f^nrd, fo>nrd, fingrd, fingrd, 
fangrd, frvngrd, frrngrd, fi^ngrd. 

3. fifnld, ftnld, fV/nld, fi/nld, fonld, fi>nld, finld, fenld, fonld, 
fonld, frrnld, fonld, finld, fynld, f^nld, fingld, fengld, 
fangld, fongld, f7rngld, fizngld. 



VOWELS AND COMBINATIONS. 67 

PHONIC EXERCISE .V. 

• r -. r r 



j—^ — i — .. — — f- — - — p t _ 

3 i_^ * r- . < s , Cx- /„ 



IjL-^Ck-.. ,.r * , L_ly^ ^ > 1-. 



i *>~ t c ct ^ ^ Li r ^ Li 

2 ^-^^AJL......^.^/...™.!...!..., < _...^. A ^ ;7 JL.L..„._ 

3 5=j r r^ *- -^ Tr > ^ ^- ^ r 



.V 



f r 

_. — - r - 



i r*,/ r > , --.JLjl^. „ f . 



2 !!_** L.S- ,,^1^ l..i.. y ........ , 

3 ^ ^ A /» - «- r r , , 

3 Sj*_i_jr. :L& .L.z. l...^.^ _L/ — 

It — C /• < V r ^ C ? 

2 ^.Ad_J!Li__j±*£ Ll. „ t ....r..-__ Li , 

3 v^.,%. _ ..r. r <- v__j: iL.. r - r ,. c V^. g L_C 



68 MANUAL OF BRACHYGRAPHY. 

THE FHOOK. 

Repeat Phonic Exercise V, making the hook heavy to rep- 
resent v. 

1. Vf, V&, Vv/, \d } V<7, Vi>, VJ, V£, Yd, Vrt, V7T, v^, vA, v^, vw. 

2. V£r, vkr, vr/r, Wr, v<rr, Vi>r, v?r, &c. 

3. Vcl, vkl, vr/1, vol, vol, v^l, v;l, &c. 

1. Vfm, vkm, vr/m, voto, vo-m, vi>m, v?m, vem, vam, vom, 
VTrm, v^m, vAm, v^m, v<om, v;mp, vemp, vamp, vomp, 
VTrmp, v^mp. 

2. Vfmr, vkmr, vo'mr, V(/mr, v<xmr, v.omr, v?mr, &c. 

3. V£ml, vkml, vr/ml, v^ml, vo-ml, Vi>ml, vjml, &c. 

1. V£n, vkn, vr/n, voto, vo-n, vx>n, v;n, ven, van, von, v-n, v^n, 
vAn, v^n, vwn, vmk, venk, vank, vrmk, v-nk, v^nk. 

2. V^nr, vknr, vr/nr, v^nr, v<rnr, Vi>nr, v;nr, venr, vanr, vrmr, 
V/rnr, v^nr, v^nr, v^nr, vomr, vmkr, venkr, vankr, vonkr, 
v-nkr, v^nkr. 

3. Vfnl, vknl, vr/nl, v^nl, vo-nl, Vi>nl, vml, &c. 

1. Vet, vkt, vr/t, Vo't, V<rt, Vl>t, VJt, V£t, Vat, Vrtt, V7rt, VJ:t, 

V^t, v^t, v<ot. 

2. Vctr, vktr, vr/tr, voto, vo-tr, vi>tr, VJtr, &c. 

3. Vetl, Victl, Vo'tl, Vcltl, Vtftl, Vi>tl, VJtl, &C. 

1. Vfmt, vfcmt, vr/mt, votot, vo*mt, Vi>mt, v?mt, vemt, vamt, 
vomt ; v-mt, v^mt, v^mt, v^mt, vwmt, v?mpt, vempt, 
vampt, vompt, v-mpt, v^mpt. 

2. Vfmrt, vkmrt, vr/mrt, Winrt, vomrt, v-emrt, v?mrt, &c 

3. V£mlt, vkmlt, vo'mlt, v^/mlt, vomit, vi>mlt, vjmlt, &c 

1. Vend, vknd, vr/nd, vomd, vo*nd, Vi>nd, v?nd, vend, vandj 
vrmd, vrrnd, v^nd } vAnd, v^nd, vomd, vmkd, venkd,vankd, 
vonkd, V7rnkd, v^nkd. 

2. Vfnrd, vknrd, vo'nrd, vofard, vo-nrd, Vi>nrd, vmrd, &c. 

3. Vfnld, vknld, v/nld, voWd, vo-nld, v.onld, vmld, &c. 



VOWELS AND COMBINATIONS. 69 

« 
Transposition of final consonants. 

2. Fcrm, fkrm, fr/rm, ft/rm, form, fcrm, firm, form, farm, 
form, form, fcrm, fomr, f^rm, fo>rm. 

3. Fclm, folm, fr/lm, Mm, folni, folm, ftlm, folm, falm, folm, 
folm, fclm, f/lm, fo'lm, fwlm. 

2. Fern, fcrn, fr/rn, forn ? fcrn, fern, f?rn, fern, farn, forn, 
f7rrn, forn, forn, fyrn, forn. 

3. Ffln, foln, fo/ln ; foln, foln, foln, fin, foln, fain, foln, foln, 
foln, f/ln, f^'ln, foln. 

2. F~rd, ftrd, fo/rd, ford, ford, ford, f;rd, ford, fard, ford, 
ford, ford, f/rd, fyrd, ford. 

3. Ffld, fold, fold, fold, fold, fold, fild, fold, fald, fold, fold, 
fold, fold, fyld, fold. 

2, Fcrmd, formd, fr/rmd, formd, formd, formd, frmd, formd, 
farmd, formd, formd, formd, f/rmd, f^rmd, formd. 

3. Fclmd, folmd, Mmd, Mmd, folmd, folmd, Mmd, folmd, 
falmd, folmd, folmd, folmd, folmd, f^lmd, folmd. 

2. Ffrnd, fornd, fo/rnd, fornd, fornd, fornd, firnd, fornd, 
farnd, fornd, fornd, fornd, fornd, f^rnd, fornd. 

3. Fclnd, folnd, folnd, Mnd, folnd, folnd, filnd, folnd, falnd, 
folnd, folnd, fclnd, folnd, fylnd, folnd. 

2. Ffmtr, fomtr, fo/mtr, &c. 

3. Fcmtl, fiantl, fo'nitl, &c. 

2. Fcntr, f&ntr, ft/ntr, &c. 

3. Fcntl, fontl, fr/ntl, &c. 

2. Verm, &c. 

3. Vclm, &c. 

2. V£rn, &c. 

3. Vein, &c. 

7* 



70 MANUAL OF BRACHYGRAI>HY, 

2. Vfrd, &c. 

3. Vfld, &c. 

2. Vfrmd, &c. 

3. Velmd, &c, 

2, Vfrnd. &c. 

3. Vflnd, &c. 

2. Vcmtr, &c. 

3. Vfmtl, &c. 

2. Vfntr, &c. 

3. Vfntl, &c. 

PRACTICAL EXERCISES. 

1. Fee, fay, foe, fie. 

2. Fear, fair, far, for, foe, four, fur, fire. 

3. Feel, fail, fall, foal, fool, fill, fell, full, file, foil, foul. 

1. Faine, foam, fern. 

2. Farm, form, firm. 

3. Film, fumble. 

1. Fair, fawn, fin, fen, fan, fun, fine, fink, fang, funk. 

2. Fern, finger. 

3. Fennel, funnel, fangle, felon. 

1. Feed, fade, food, feet, fate, fought, fight, fout, fat. 

2. Fitter, fetter, fatter, fighter, feared, fared, ford, fort, fired. 

3. Fatal, fiddle, faddle, fuddle, fidle, field, failed, foaled, 
fooled, filled, felled, filed, foiled, fouled, fault, felt, 

1. Famed, foamed. 

2. Farmed, formed. 

1. Fiend, fained, fawned, fond, fanned, find, found, fanged, 
faint, font, fount. 

2. Fingered, fainter, finder, fender, finder, founder, fonder. 

3. Fangled, fondle, fontal. 



VOWELS AND COMBINATIONS. 71 



1. Vee, vie, vow. 

2. Veer, voil. 

3: Veal, vail, vole, ville, vile. 

1. Vim, vamp. 

2. Vamper. 

1. Vain, vin, ven, van, vine. 

2. Vainer, Vennor, viner, vern. 

3. Venal, vinnel, vinal, villain. 

1. Void, vote, vat, voight. 

2. Voter. 

3. Vattal, vital, vailed, vault, volt, vedal. 

1. Vamped, vomit. 

2. Vampered, vampire. 

1. Veined, vaunt, vint, vent. 

2. Vaunter, vinter, venter. 

3. Volunt, 



EXERCISE VI. 

INITIAL L HOOK. 

The consonant ?, preceding a vowel or combination, is joined 
to it by a large initial book, written on the upper side of hor- 
izontal, and to the right of perpendicular vowels and combina- 
tions, and conforms to the angle of the phonic. 

The initial I hook is represented by a hook similar to the/ 
hook, joined in the same manner, and differing only in size. 

This Exercise is also divided into two parts ; the latter part 
being similar to the former, with the addition of t or d. 



72 MANUAL OF BRACHYGRAPHY. 

EXERCISE VI. 

1. Lf, Ik, IrJ, Id, k, k, b, k, la, k, k, k, U, \<Jf i k. 

2. L'Ey, kr, kr, kr, kr, kr, br, kr, lar, lor, kr, kr,kr,l0r, kr. 

3. Lfl, ltf, kl, kl, kl, kl, bl, lei, lal, lol, kl, H, ki, VI, kl. 

1. Lcm, km, km, Wm, km, km, bm, km, lam, km, km, 
km, Um, \<pm, km, bmp, kmp, lamp, kmp, kmp, kmp. 

2. L£mr, kmr, kmr, kmr, kmr, kmr, bmr, kmr, lamr, 
kmr, kmr, kmr, kmr, l^mr, kmr, bmpr, kmpr, lampr, 
kmpr, kmpr, kmpr, 

3. Lfml, kml, lr/ml, kml, kml, kml, bml, kml, laml, kml, 
kml, kml. 

1. Lrn, kn, k'n, kn, kn, kn, bn, kn, Ian, kn, kn, kn, kn, 
l^fl, kn, bng, kng, lang, kng, kng. 

2. Llnr, knr, knr, knr, knr, knr, bnr, knr, lanr, knr, knr, 
knr, knr, l^nr,knr, bngr, kngr, langr, kngr, kngr, kngr. 

3. Lfnl, knl, knl, knl, knl, knl, bnl, lenl, lanl, knl, knl, 
knl, Unl, l^nl, knl, bngl, kngl, langl, kngl, kngl, kngl. 

1. L|d, kd, k'd, kd, kd, kd, bd, led, lad, kd, kd, kd, kd, 
l^d, kd. 

2. L£dr, kdr, kdr, kdr, kdr, kdr ; bdr, kdr, ladr, kdr,kdr, 
kdr, kdr, Vdr, kdr. 

3. Lfdl, kdl, kdl, kdl, kdl, kdl, bdl, kdl, ladl, kdl, kdl, 
kdl, kdl, tydl, kdl. 

1. Lcmd, kmd, k'md, kmd, kmd, kmd, bmd, kmd, lamd, 
kmd, kmd, kmd, kmd, l^md, kmd, bmpt, lempt, lampt, 
kmpt, kmpt, kmpt. 

2. Lcmrd, kmrd, kmrd, kmrd, kmrd, kmrd, bmrd, kmrd, 
lamrd, kmrd, kmrd, kmrd, kmrd, l^mrd, kmrd, bmprd, 
kmprd, lamprd, kmprd, kmprd, kmprd. 

3. Lcmld, kmld, kmld, kmld, kmld, kmld, bmld, kmld, 
lamld, kmld, kmld, kmld, kmld, l^mld, kmld, bmpld, 
kmpld, lampld, kmpld, kmpld, kmpld* 

1. Lfnd, knd, k'nd, knd, knd, knd, bnd, lend, land, knd, 
knd, knd, knd, l^nd, knd, bnkd, knkd, lankd, knkd, 
knkd, knkd. 

2. Lfnrd, knrd, b/nrd, k'nrd, knrd, knrd, bnrd, kord, lanrd, 
knrd, knrd, knrd, knrd, l^nrd, knrd, bngrd, kngrd, 
langrd, kngrd, kngrd, kngrd. 

3. L£nld, knld, knld, knld, knld, knld, bnld, knld, lanld, 
knld, knld, knld, lylnld, Vnld, knld,bngld, kngld, kngld, 
kngld, kngld, kngld. 



VOWELS AND COMBINATIONS. 73 

PHONIC EXERCISE ¥1. 



1 

2 
3 

1 
2 
3 
1 

2 
3 


*= r «= 

^ .C-r..... ^ ..s . ^-^ 5 


.c.... r ... 


' 1 

-p 

^. , 




V 


r r 

.&. 


^^ r r ^^ L. 


r 




<c.^. Ll—i^ 1 


r 


/-^^, ^.J" 


^ 7>" '^' 

^o C...f. s^ c 


c „ 


f .t-x- vc 


o x iy 

*. 7» "C 


.i.. T 


11..,..-.- <L<^_ 

puJ^us- L..C__ 


1 

2 
3 
1 


^ L.r ...±:.- r 


c 


r r 


rl..c-: !..._ jc^r. 1. 

— <^ a -<;• — 

Sli. r ....L_......t.-. I 


r 

r 
.... 


- v- — 

p r 

77 " 

r ^c~ I....I........ 


2 
3 
1 
2 
3 


.^r .A „ £>: 

" <n "7 ^ 

h^. £_£ _±j. °.. 

±1^ S. :.;C A ^ cy . c 


.A _ 

"r 

.....,.... r 


' *^^ -s 

c>* ^ : ' 

,....^..-. .... c ......c 

-...c.....^. Li_. 

r c " * 

c ?:....&...„ L..C™. 








74 MANUAL OF BRACHYGRAPHY. 

Transposition of final consonants, 

2. L?rm, krm, k'rm, krm, krm, krm, brm, krm, krm, krm, 
krm, krm, krm, l^rm, krm. 

3. L?lm, Mm, lr/lm, klm, klm, klm, blm, klm, lalm, klm, 
klm, Mm, btfm, klm, lwlm. 

2. L£rn, l^crn, Wrn, krn, krn, krn, l;rn, km, larn, krn, l7rrn, 
krn, Urn, l^rn, krn. 

3. Lfln, kin, kin, kin, kin, kin, bin, kin, lain, kin, kin, 
kin, 1/ln, ty'ln, kin. 

2. Lfrt, krt, k'rt, krt, krt, krt,brt, krt, lart, krt, krt, krt, 
Urt, l^rt, krt. 

3. Lfld, kid, lr/ld, kid, kid, kid, bid, kid, laid, kid, kid, 
kid, 1/ld, k'ld, kid. 

2. Lfrmd, krmd, krmd, krmd, krmd, krmd, brmd, krmd, 
larmd, krmd, krmd, krmd, lArmd, l^rmd, krmd. 

3. Lflmd, klmd, klmd, klmd, klmd, klmd, blmd, klmd, 
lalmd, klmd, klmd, klmd, klmd, l^lmd, klmd. 

2. L?rnd, krnd, k'rnd, kmd, krnd, krnd, brnd, krnd, 
larnd, krnd, krnd, krnd, Urnd, l^rnd, krnd* 

3. Lrlnd, kind, kind, kind, kind, kind, bind, kind, lalnd, 
kind, kind, kind, Ulnd, tylnd, kind. 

2. Lfmdr, kmdr, k'mdr, kmdr, kmdr, kmdr, bmdr, kmdr, 

lamdr, &c. 

3. Lfmdl, kmdl, k'mdl, kmdl, kmdl, kmdl, bmdl, kmdl, 

lamdl, &c. 

2. Lfndr, kndr, k'ndr, kndr, kndr, kndr, bndr, kndr, 
landr, &c. 

3. Lfndl, kndl, k'ndl, kndl, kndl, kndl, bndl, kndl, landl, 
&c. 

PRACTICAL EXERCISES. 

1. Lee, lay, law, low, loo, lie, li. 

2. Leer, layer, lar, lor, lore, lur, liar. 

3. Loll, lil, lei, lar, lull. 

1. Learn, lame, loam, loom, limb, lem, lamb, lime, loum, 
limp, lamp, lump. 

2. Lamer, limber, lumber. 

1. Lean, lane, lawn, loan, loon, lin, len, Ian, line, loin, loun, 
link, lank, long, lung. 

2. Leaner, liner, linger, languor, longer, lorn, learn. 



VOWELS AND COMBINATIONS. 75 

1. Leet, late, lot, lote, lute, lit, let, lat, lufc, loot, light, lout, 
Leed, lade, laud, load, lewd, lid, led, lad, Lide, Loyd, loud. 

2. Later, lotter, litter, letter, latter, lighter, loiter, louter, 
leader, lader, lauder, loader, ladder. 

3. Little, Litle, ladle, lidle. 

1. Limped, lumped, learned, lamed, limned, lammed, limed, 
loomed. 

2. Larmed, Lombard. 

1. Leaned, laned, loaned, looned, linned, lend, lined, loined, 
ringed, linked, lint, lent. 

2. Leonard, lingered, learned. 



EXERCISE VII. 

THE S OR Z CIRCLE— INITIAL AND FINAL. 

The initial consonant s is represented by a small circle writ- 
ten on the upper side of horizontal, and on the right side of 
perpendicular vowels and combinations. When joined to 
curves it is written on the inside of the curve. 

This circle, representing s or z, is both initial and final ; 
the final being represented in the same manner as the initial, 
except that it curves at the end, instead of at the beginning 
of the phonic. 

When the circle is shaded it indicates the sound of z. The 
experienced writer, however, does not preserve the distinction, 
except in a very few instances. 

Examples of final s are given in the Phonic Exercise VII, 
at the right of the straight line phonics. 

The s or z circle, made double the usual size, represents the 
sound of double s, as expressed in the termination sis or ses ; 
the sis or ses circle made heavy, represents the sound of zis 
of zes. 

This Exercise is divided into two parts, and former expla- 
nations in reference to such division is equally applicable to 
this Exercise. 



76 MANUAL OF BRACHYGRAPHY. 

EXERCISE VII. 

1. Sf, Sk, B'dj S</, S<T, Si>, S3, Se, SOt, SO, S7T, S^, S^, S^', Sw. 

2. S£r, skr, sr/r, s^r, s<jt, s&r, s?r, ser, sar, sor, S7rr, s^r, s^r, 
s^r, s^r. 

3. Sfl, ski, S'-r/l, Sol, Stfl, Si>l,]SJl, sel, sal, sol, SttI, s^l, s>U, S0l, s<ol. 

1. S?m, skm, sv/m, soto, s<nn, Si>m, s;ra, sem, sam, som, S7rm, 
S2:m, sAm, s^m, swm, s;mp, semp, samp, somp, S7rmp, s^mp. 

2. Scmr, skmr, stfmr, sotor, s^mr, s.t>mr, s;mr, semr, sainr, 
somr, STrmr, s^mr, sAmr s s^mr, swmr, s;mpr, sempr, sampr, 
sompr, s-mpr, s^mpr. 

3. S?ml, skml, so'ml, sotoil, soml, si>ml, s?ml, semi, saml, soml, 
STrml, sianl, sAml, s^ml, s<oml, s?mpl, sempl, sampl, sompl, 
S7rmpl, s^mpl. 

1. Sen, skn, s-r/n, so'n, son, sim, sm, sen, san, son, srrn, s^n, s>fai, 
s^n, swn, smg, seng, sang, song, S7rng, s^ng. 

2. S£nr, sknr, sr/nr, sofar, so-nr, s.onr, smr, senr, sanr, sonr, 
S7rnr, s^nr, s^nr, s^nr, s<onr, smgr, sengr, sangr, songr, 
S7rngr, s^ngr. 

3. S? nl, sknl, sr/n], s^nl, sonl, Si>nl, s;nl, senl, sanl, sonl, S7rnl, 
s^nl, s^nl,s^nl, soml,^smgl, sengl, sangl, songl, S7rngl, s^ngl. 

1. S£d, skd, sr/d, sotf, so-d, Si>d, s?d, sed, sad, sod, S7rd, s^d, 
sAd, s^d, Bwd. 

2. Sfdr, skdr, sr/dr, softr, so-dr, sx>dr, s;dr, sedr, sadr, sodr, 
S7rdr, s^dr, S/ldr, s^dr, s<odr. 

3. Sftl, S^tL S'o'tl, S^tl, SO~tl, Si>tl, S?tl, Setl, Satl, Sotl, S7rtl, s^tl, 
sAtl, s^/'tl, s<otl. 

1. Sfmt, skmt, sr/mt, s^mt, so-mt, Si>mt, s?mt, semt, samt, 
somt, STrmt, s^mt, s^mt, s^mt, swmt, s?mpt, sempt, sampt, 
sompt, srrmpt, s^mpt. 

2. Slmrt, skmrt, sr/mrt, s^mrt, so-mrt, s-omrt, s;mrt, semrt, 
samrt, somrt, S7rmrt, S2£mrt, sAmrt, s^mrt, s<omrt, s?mprt, 
semprt, samprt, somprt, S7rmprt, s^mprt. 

3. S^mlt, skmlt, sVmlt, so'mlt, somlt, si>mlt, s?mlt, semlt, 
samlt, somlt, S7rmlt, s^mlt, sAmlt, s^mlt, so>mlt, s;mplt, 
semplt, samplt, somplt, STrmplt, s^mplt. 

1. Sent, sitnt, sr/nt, s^nt, s^rnt, Si>nt, smt, sent, sant, sont, 
S7rnt, s^nt, sAnt, s^nt, scont, s;ngt, sengt, sangt, songt, 
STrngt, s^ngt. 

2. Sfnrd, sknrd, sr/nrd, so'nrd, s^rnrd, Si>nrd, s;nrd, senrd, 
sanrd, sonrd, S7rnrd, s^nrd, s>lnrd, s^nrd, swnrd, smgrd, 
sengrd, sangrd, songrd, S7rngrd, s^ngrd. 

3. S?nlt, sknlt, sv/nlt, s^nlt, s^nlt, s^nlt, smlt, senlt, sanlt, 
sonlt, S7rnlt, simlt, sAnlt, s^nlt, sconlt, smglt, senglt, sanglt, 
songlt, STrnglt, sanglt. 



VOWELS AND COMBINATIONS. 

PHONIC EXERCISE TIL 



77 





F f 

-s- f 

V „ .«.. 


~">s ^T 


.. . ^ ^ ^ 

«- ^ f f "-.^ f 




"- L.i _ 


V f -> 


r / 


" e 



t r «~ ■ ? . t _*_1L* 



~r~ 



r*. 



T~~ 



5 "> 

£Lc J 1 1 ■ ■• «~ 



■ y 



_r^ 



J 



^ J 



" T~~ ' 



°N 



-a J- 



r n 






2 — *^ -A.. 






.1.. 



^ <. 






r r. 



•v s? <r 



■~r~ 



^ r/, -.. r , " f 


Q-0 

O-D 


f 


r i \ 

zac ! ! r^ 1 i _1_ «... 

•" * . -> K , P x 
v< >> ^ A ' > 


/^» 


3 

C 


V /» V. ... f r 


~— OS 


I 



y 7 



•> ■> 



..J. £>... 



T 

n.c, Ljl 



../C... 



JL 



■*V °> 



r 



J J 



c 



( e 



2 n^.. ; 



3 L^ 



T 7 ^ _ ^ ^X' 

~7* ■ lfc TC *~ 



78 MANUAL OF BRACHYGRAPHY. 

Transposition oj final consonants 

2. S|rm, sta, sr/rm, sdrm, sarin, &0rm, S7rm, serm, sarm, 
sarm, STrrm, s^rm, s/lrm, s^rm, swrm. 

3. S|lm, skim, sr/lm, s^lm, s<rlm, si>lm, S7lm, selm, salin, sr?lm, 
STrlm, s^lm, s/llm, s^'lm, swim. 

2. Sfrn, skrn, sr/rn, s^rn, s<rrn, si>rn, S7rn, sern, sarn, sr?m, 
S7rrn, Siirn, s/lrn, s^rn, swrn. 

3. Sfln, skin, sr/ln, soln, s<rln, si>ln, S7ln, ssln, sain, s<?ln, s-ln, 
sjiln, sAln, s^ln, swln. 

2. S?rd, skrd, sr/rd, s</rd, sard, Si>rd, S7rd, serd, sard, sr?rd, 
S7rrd, s^rd, sArd, s^rd, su>rd. 

3. Sfld, skid, sr/ld, sold, said, si>ld, S7ld, ssld, said, sr?ld, S7rld, 
sj^ld, s/ld, s^ld, s^ld. 

2. Slmrd, skmrd, stfmrd, so'mrd, s<rmrd, si>mrd, S7mrd, semrd, 
sainrd, s^mrd, S7rmrd, s^mrd, sAmrd, s^mrd, s^mrd. 

3. S?lmd, sklmd, stflmd, st/lmd, s<rlmd, si>lmd, S7lmd, selmd, 
salmd, sr?lmd, srlmd, s^lmd, sAlmd, s^lmd, swlmd. 

2. Sfrnd, skrnd, sr/rnd, so'rnd, sarnd, Si>rnd, s?rnd, sernd, 
sarnd, s^rnd, s-rnd, s^rnd, s/lrnd, s^rnd, s^rnd. 

3. Sflnd, sklnd, sr/lnd, so'lnd, s<rlnd, Si>lnd, s?lnd, selnd, salnd, 
Sftlnd, S7rlnd, s:dnd, s/llnd, sc^lnd, s^lnd. 

2. Scnidr, skmdr, sr/mdr, s^mdr, s<xmdr, Si>mdr, s?mdr, semdr, 
samdr, s^mdr, STrmdr, s^mdr, s/lmdr, s^mdr, s^mdr. 

3. Sfmdl, skmdl, sr/mdl, s^mdl, s<midl, si>mdl, s?mdl, semdl, 
samdl, samdl, S7rmdl ; s^mdl, sAmdl, s^mdl, s^mdl. 

2. Sfndr, skndr, sv/ndr, S(/ndr, s^ndr, si>ndr, smdr, sendr, 
sandr, sandr, S7rndr, s^ndr, sAndr, s^ndr, s^ndr. 

3. Scntl, skntl, sr/ntl, s^ntl, s<mtl, sunt], smtl, sentl, santl, 
santl, S7rntl, s^ntl, sAntl, s^ntl, s^ntl. 



VOWELS AND COMBINATIONS. 79 

PRACTICAL EXERCISES. 

1. See, say, saw, so, sue, sigh, sow, 

2.. Seer, sayer, sar, sor, sore, sewer, sir, sire, soir, sour. 

3. Seal, sale, sol, sole, sill, sell, sal, sile, soil, soul. 

1. Seem, same, some, sim, sem, sam, sime, simp, samp. 

2. Simmer, summer, simer, simper, sombre. 

3. Simple, semple, sample, symbol, psalm, solemn. 

1. Seen, sane, sawn, sown, soon, sin, sen, san, sun, sign, soign, 
soun, sink, senk, sank, sunk, sing, sang, sung. 

2. Seener, saner, sooner, sinner, sanner, sunner, signer, 
singer, sinker. 

3. Single, sullen. 

1. Seed, said, sawed, sowed, sued, sid, sed, sad, sod, sud, 
sighed, soud. 

2. Cedar, sodder, soader, sooder, sidder, seddar, sadder, sudder, 
cider, souder, seared, sword, surd, sired, soured, sitter, 
satter, sutter, soiter, sort. 

3. Saddle, sidle, subtle, sealed, sailed, sold, silled, sulled, siled, 
soiled, salt, Celt. 

1. Seemed, simt, samt, sumt. 

2. Simmered, summered, simpered, sampered, Sumpter. 

3. Simpled, sem pled, sampled, symboled, sembled. 

2. Sangert, saunter, cinder, sender, centre, sunder. 

3. Singled, silent, sandal. 



EXERCISE VIII. 



INITIAL AND FINAL S CIRCLE. — TRANSPOSI- 
TION OF THE VOWEL. 

Exercise VIII is composed entirely of curves, with initial 
and final s circles. The vowel is also transposed to the latter 
end of the curve by the shading. 



80 MANUAL OF BRACHYGRAPHY. 

EXERCISE VIII. 

1. Sm£, smk, smr/, sm^, sm^x, smx>, sim, sme, sma, smo, sm7r, 
sm^, smi, sm^/', smw, s?mp, semp, samp, samp, srmp, s^mp. 

2. Smfr, smkr, smr/r, smo'r, sm<rr, snu>r, simr, smer, smar, 
smar, sm7rr, sm^r, sm/lr, sm^r, sm^r, S7mbr, sembr, sambr, 
s^mbr, s^-mbr, s^mbr. 

3. Smfl, smW, smWl, smc/1, sm^l, smi>l, sm7l, smri, smal, smal, 
smrl, smiil, smAl, sm^l, smwl, S7mbl, sembl, &c. 

1. Sn£, snli ) snr/, snd, sn<r, sni>, sm, sue, sna, sna, sn7r, sn^, 
sni, sn0, sna>, S7ng, sgng, sang, sang, S7rng, s^ng. 

2. Snfr, snkr, snr/r, sndr, sn<rr, snx>r, smr, sner, snar, snar, 
sn7rr, sn^r, sn/lr, sn^r, snwr, S7ngr, sengr, &c. 

3. Snfl, snal, snr/1, snol, snd, sni>l, sml, snsl, snal, snal, snTr], 
sn^l, sn/ll, sn^l, sn^l, S7ng, seng, &c. 

1. Mrs, mks, mr/s, m^s, m<rs, mss, m7S, mes, mas, mas, mrs, 
mirs, mis, m^'S, mws, 7mps, emps, &c. 

2. Mfsr, mksr, m7/sr, mo'sr, m<rsr, mi>sr, imsr, mesr, masr, 
mrjsr, mrsr, miisr, m/lsr, m^sr, m^sr, 7mprs, smprs, &c. 

3. Mcsl, masl, mr/sl, motel, m<7sl, mi>sl, m7sl, mesl, masl, mr?sl, 
m7rsl, m^sl, mksl, m^sl, mwsl, 7mpls, empls, &c. 

1. Nfs, 11 its, ntfs, n^s, n^s, ni>s, n;s, nes, nas, Das, n7rs, n^s, 
nAs, n0s, nws, 7ngs, £ngs, &c. 

2. Nfsr, nksr, nr/sr, ndsr, n<7sr, ni>sr, n7sr, nssr, nasr, Dasr, 
D7rsr, njisr, nAsr, n</>sr, n^sr, 7ngrs, engrs, &c. 

3. Ncsl, nfcsl, nr/sl, notel, n<rsl, ni>sl, n7sl, nesl, nasi, nosl, n7rsl, 
n^sl, nisi, n^sl, nwsl, 7ngls, engls, &c. 

1. Smft, smat, smr/fc, smrVt, sm<rt, smi>t, sm7t, smefc, smat, smat, 
sm-t, smiit, smit, sm^t, smwt, S7mpt, sempt, &c. 

2. Smctr, smatr, smr/tr, smo'tr, sm^tr, smi>tr, simtr, smetr, 
smatr, smatr, sm^rtr, sm^tr, smitr, sm^tr, smwtr, S7mprt, 
semprt, &c. 

3. Smftl, sm&tl, smr/tl, sm(/tl, sm^tl, smi>tl, sm;tl, smstl, smatl, 
sm^tl, sm7rtl, smittl, smAtl, sm0tl,sma>tl, S7mpld, sempld, &c. 

1. Snfd, snitd, snr/d, sno'd, sn<rd, sn^d, sn7d, sned, snad, snad, 
snTrd, sni:d, sn/d, sn^'d, sn^d, S7mpd, Sfmpd, &c. 

2. Sncdr, snitdr, sn//dr, sno'dr, sn^dr, snx>dr, sn7dr, snedr, 
snadr, snadr, sn^dr, sn^dr, snidr, sn^dr, snwdr, s?mprd, 
semprd, &c. 

3. Snfdl, snkdl, snr/dl, sno'dl, sn^dl, sni)dl, smdl, snedl, snadl, 
wsn^dl, sn7rdl, sn^dl, snidl, sn0dl, sn^>dl, S7ngld, sengld, &c. 



VOWELS AND COMBINATIONS. 81 

PHONIC EXERCISE VJII. 

1 ^^ 5 5 ^^ ?- 5 ' S *~V* ' ) 

1 ' TS <=j iT< ' 3 V* 2-S - *jp" 

2 £j=_13i -C^ IV 1?..^-^-^.^ 

d ■*> T *\ ? -TT T f "^ - T " 

^_ c c ^_ c c ^ ^^ C c 

2 .-..^ L.Li..^^... T A....L. 7 Hc±l*> L_£_. 

^ . I ^ ^ r r " < - 

6 e r <c T"\ p <c f 

1'. ' \ , ) J V 

1 ^ 4-j ™~y% *-} > ^ '--y- 

2 n^ !.> _.^> 7*) "* * \ ^ ^ ~^ 

* /* ^ /* i ; 7 '"•* >* ' 7 

3 3La l..J..... r ^ Ld : .liv_.-?^ La ,.„ 

1 " o t" ^ c"T r =* r 

• £Li_ iLt -O c v. - L :-^ ^ v.. 

_. \-v' <** ^^ *V r^*^ C C 



1 ~ o ' "3 ■ '~ ~ 5 ? ?*"'»> ^ °> . 

x *x" i~ 3=r* — s" * #*•' T 

o .Cue l...n .C...«c 2 3 : «j £_.£_ JLa__ 

a *s ~y <s; 5" * *S '5 



....^.....™. . ™ --J- .1 .„ ^. _«^ -p-^—. .- -^™ 



..^ \ C , ^..-.. VV ..1X._ ^^L%c. * 



±j 



^ c = ^-—.^ i/ .™_ . c 

d "c "7 s s: 7 r """ ^ /"» 



82 MANUAL OF BRACHYGRAPHY. 

Transposition of final consonants. 

2. Mcrs, mkrs, mr/rs, mo'rs, mars, mi>rs, imrs, mers, mars, 
mrvrs, m7rrs, m^rs, mArs, m^rs, inwrs. 

3. Mcls, mWs, mr/ls, mo'ls, m^ls, m.els, imls, inds, mals, mals, 
m7rls, m^ls, mAls, m^ls, nWs. 

2. Nfrs, nkrs, nr/rs, no'rs, n<rrs, ni>rs, mrs, ners, nars, nr?rs, 
n7rrs, n^rs, nArs, n^'rs, nwrs. 

3. Nfls, nkls, nr/ls, nols, na-ls, ni>ls, n?ls, nels, rials, nols, n7rls, 
nitls, nAls, n^ls, nwls. 



PRACTICAL EXERCISES. 

2. Smear, smire. 

3. Smail, small, smole, smell, smull, smile, smoul. 

1. Snee, snow, sny, snoi, snou. 

2. Sneer, snare, snore. 

3. Sneal, snail, snole, snool, snell, snull, snile. 

1. Mease, mace, moss, mose, moose, miss, mess, mass, muss, 
mice, mouse. 

2. Mozer, Moozer, masser, musser, miser, mouser, Mears, 
mares, Mars, Morse, Moores, Myers. 

3. Mistle, muscle, meals, mails, moles, mules, miles. 

1. Niece, knees, nays, nose, news, neuce, ness, nice. 

2. Nozzer, nizer, nears, nares, narrs. 

3. Nasal, nozzle, Neals, nails, nils, Nels. 

1. Smot, smote, smoot, smit, smet, smat, smut, smite. 

2. Smoter, smitter, smatter, smutter, smiter, smeared, smart. 

3. Smelt, smiled. 

1. Sneat, snate, snot, snote, snoot, snit, snet, snat, snout, 
snode, snid, snide. 

2. Sneater, Snyder, 

3. Snealed, snailed, snoled, snorled, sniled. 



VOWELS AND COMBINATIONS. 83 

EXERCISE IX. 

INITIAL DOUBLE CONSONANTS SL, SPL, SH 
AND SHR. 

The initial double consonant si is represented by a small light 
semi-circle, always written upward, in a direction towards the 
upper right-hand corner of the page. It is never used finally. 
If a straight line, running from the upper right-hand corner 
of the page to the lower left-hand corner, divide a small circle 
into equal parts ; the semi-circle on the right of the line, writ- 
ten upwards, represents the initial double consonant si. 

The triple consonant spl differs from si in nothing but the 
shading, spl being written upward in the same manner as si, 
but shaded by a heavy pressure on the pen. 

The phonics at the end of the first group of three lines of 
Phonic Exercise IX, are given as examples of spl, which should 
be written out in full, through the whole series of vowels and 
combinations. 

It is considered that sufficient examples have been given to 
render the student familiar with the method of adding t or cZ, 
and henceforth that part of the Phonic Exercise is omitted. 
The student, however, should not fail to write out each exer- 
cise in full-in his practice. 

The double consonant sh is represented by a small light semi- 
circle written downward towards the bottom of the page, and 
is never used finally. If a straight perpendicular line divide 
a small circle equally, the semi-circle to the right of the line, 
written downward, represents sh ; if the same character be 
shaded by a heavy pressure on the pen, it represents the triple 
consonant shr. 

The latter half of Phonic Exercise IX is a representation 
of sh and shr. 

The phonics at the end of the first group of three lines in 
the latter half of the Phonic Exercise, are given as examples 
of shr. 



84 MANUAL OF BRACHYGRAPHY. 

EXERCISE IX. 

1. Slf, slk, sir/, sld, sk, sk, sb, sk,sla, sla, si-, sk,sU,sl^, sW 

2. Slfr, slkr, slr/r, slo'r, skr, skr, sl/r, sler, slar, skr, skr, 
skr, slAr, sl^r, sla>r. 

3. Sl£l, 8141, slr/1, sM, ski, ski, sbl, del, slal, ski, ski, ski, 
sl/U, sl^'l, ski. 

1. Skm, slfom, sWm, skm, skm, skm, sbm, slem, skm, skm, 
skm, sliim, slAm, sl^m, slwm, sbmp, slsmp, skmp, skinp, 
skmp, skmp. 

2. Sl£mr, sltoir, slr/mr, skmr, skmr, skmr, sbmr, skmr, 
slamr, slamr, skmr, skmr, sl/lmr, sl^mr, slwmr, sbnipr, 
skmpr, slampr, skmpr, skmpr, skmpr. 

3. Sl£ml, sl/iml, sir/ml, skml, skml, skml, sbml, sleml, slaml, 
slaml, skml, skml, skml, sl^ml, slwml, sl?mpl, slempl, &c. 

1. Sl£n, skn, slr/n, slc/n, skn, skn, sbn, skn, skn, skn, skn, 
skn, slAn, sl^'n, slam, sbnk, slenk, slank, sknk, &c. 

2. Sknr, sl^nr, sb/nr, slc/ar, sknr, sknr, sbnr, sknr, slanr, 
sknr, sl7rnr, sknr, sl/lnr, sl</'nr, sknr, sbnkr, slenkr, &c. 

3. Slfnl, sknl, sk'nl, sknl, sknl, sknl, sbnl, slenl, sknl, sknl, 
skill, sknl, slAnl, sl^'nl, slaml, sbngl, slengl, slangl, &c. 

1. Sh|, shk, shr/, she/, shtf, sha, sk, she, sha, sha, sli7r, shi:, 
sh/l, sh^, sha). 

2. Sh£r, shfcr, shWr, sho/r 5 shtfr, sh^r, slm, slier, shar, shar, 
sliTrr, sh^r, shAr, sh</>r, sh^r. 

3. Sh£l, sh&l, shr/1, slWl, sh^l, skel, ski, shel, shal, shal, 
sh/tl, sk:], sktf, sh0l, shwl. 

1. Shfm, shkm, shr/m, sWm, sh<xm, shi>m, sli7m, shsm, 
sham, sham, shrin, shrm, shim, sh^m, shwm, sh?mp, 
skmp, shamp, sh^mp, shrmp, sh^mp. 

2. Sh£mr, sh&mr, shr/mr, slWmr, sh<xmr. sk>mr, sh?mr, shemr, 
shamr, shrvmr, shTrmr, sh^mr, shAmr, sh^mr, shcomr, 
sh7mpr, shempr, shampr, shampr, sh7rmpr, sh^mpr. 

3. Shfml, sh&ml, shr/ml, sh^/ml, sh^rml, shuml, sh?ml, sheml, 
shaml, shaml, sh7rml, sh^ml, shAml, sh^ml, shwml, 
sh?mpl, shempl, shampl, shr?mpl, shTrmp], shrmpl. 

1. Shfn, shkn, shr/n, sho'n, sh(7n, shi>n, shm, shtn, shan, sh^D, 
sh7rn, sh^n, shin, sh^n, shcon, shmk, shenk, &c. , 

2. Shfnr, shfonr, shr/nr, sho'nr, sh(7iir, shunr, shmr, shenr, 
shanr, shr7nr ? sh7rnr, sh^nr, shAnr, sh^nr, sh^nr, sh7akr, 
shenkr, shankr, shankr, shTriikr, sh^nkr. 

3. Shf nl, sh^nl, shv/nl, slWnl, sh<rnl, shrill, shml, shenl, shanl, 
shr?nl, sh7rnl, sh^nl, shinl, shc/ril, shconl, sh7Dgl, shengl, &c. 



VOWELS AND COMBINATIONS. 

PHONIC EXERCISE IX. 



85 



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86 MANUAL OF BRACHYGRAPHY. 



Transposition of final consonants. 

2. Sl£rm, slkrm, sb/rm, starm, starm, starm, sbrm, starm, 
starm, starm, starm, starm, slArm, sty'rm, starm. 

3. Stalm, stalm, sb/lm, stalm, stalm, stalm, sblm, slelm, stalm, 
stalm, stalm, stalm, sUlm, sty'lm, stalm. 

2. Starn, starn, sb/rn, starn, starn, starn, sbrn, starn, slam, 
starn, starn, starn, starn, sl^rn, si corn. 

3. Sl£ln, stain, sMn, stain, stain, stain, shin, sleln, slain, stain, 
stain, stain, sl/lln, slc/)ln, stain. 

2. Sh|rm, shkrm, shr/rm. sWrm, sh^rm, shi>rm, sh7rm, sherm, 
sharm, sharm, sh/rrm, shiirm, shArm, shc/>rm, shwrm. 

3. Shclm, shMm, shr/lm, sholm, sh^lm, sh-elm, sh7lm, shdm, 
shalm, shalm, sh-lm, sh^lm, sh/Qm, sh^lm, shwlm. 

2. Shfrn, shkrn, shr/rn, sWrn, sh^rn, shi>rn, sh;rn, shcrn, 
sharn, sham, sh-m, sh^rn, shArn, sh^rn, shwrn. 

3. Sh£ln, shkln, shr/ln, slidln, sh<rln, shi>ln, sluln, sbeln, 
shaln, stadn, shrln, sh^ln, sh^ln, sh^ln, sh^ln. 

Each part of the Phonic Exercise should be repeated, add- 
ing t or d y as well of si and sh, as of spl and shr. 



PRACTICAL EXERCISES. 

SL. 

1 . Slay, slow, slew, sly. 

2. Slayer, slower, slur, slyer. 

1. Slim, slam, slum, slime. 

2. Slimmer, slammer, stamper. 



VOWELS AND COMBINATIONS. 87 

1. Slain, Sloan, sling, slang, slung. 

2. Slinker, slunker. 

1. Sleet, slate, slot, slote, sloot, slit, slat, slut, slight, slid, sled, 
slide. 

2. Sledder, sludder, slider. 

1. Slammed, slummed, slimed. 

2. Slaint, slant. . 

3. Slinked. 



1. She, shay, pshaw, shoo, shy. 

2. Shear, share, shore, sure, shir, shire, Shoyer, shower. 

3. Shale, shawl, shell, shall. 

1. Shame, Shem, sham, shamp. 

2. Shimmer. 

3. Shamble. 

1. Shen, shane, shone, shin, shun, shine, shank. 

2. Shaner, shiner, chancre, Sharon, shorn. 

3. Shingle. 

1. Sheet, shot, shote, shoot, shut, shod, showed, shoved, shod. 

2. Shotter, shooter, shutter, shudder. 

3. Shuttle, shield, shelled. 
1. Shamed, shammed. 



SPL. 



1. Splay. 

2. Splayer. 

1. Spleen. 



88 MANUAL OP BRACHYGRAPHY. 

L Splayed, supplied, split. 
2. Splitter, splutter. 

1. Splint. 

2. Splendor, splinter. 



SHR. 

1. Shrill. 

2. Shrimp. 

1. Shrine, shrink, shrank, shrunk, 

2. Shrinker, shrunker. 

1. Shrewd, shred, shroud. 

2. Shroeder. 



VOWELS AND COMBINATIONS. 89 

EXERCISE X. * 

INITIAL DOUBLE AND TRIPLE CONSONANTS, 
SP, SPR, ST AND STR. 

The double consonant sp is represented by a small semi- 
circle written downward, toward the lower left-hand corner of 
the page. It is an initial hook only. If a straight line, 
running from north-east to south-west, divide a small circle 
equally, the part of the circle to the right of the line, writing 
downwards, represents sp ; and if the phonic representing sp 
be shaded heavily, it represents the triple consonant spr. The 
only difference between si and spZ, and sp and spr is the di- 
rection in which they are written, the former being written 
upward, the latter downward. 

The double consonant st is represented by a small semi- 
circle written downward, due south-east. It is either initial 
or final. If a straight line, running from north-west to south- 
east, divide a small circle into equal parts, the semi circle on 
either side of the line represents st; the same, heavily shaded, 
represents the triple consonant str. 

The semi-circle on the upper or right side of the line is 
joined to horizontal characters, and the one on the lower or 
left side to perpendiculars. The selection of one or other 
modes of representing st and str is governed by convenience 
only ; whichever semi-circle will form the best junction is 
the one to be selected. 

Examples of the triple consonants spr and str are found at 
the right of the first group of three lines, in each part of 
Phonic Exercise X, and should be written out in full. 

Each part of Phonic Exercise X should be written out 
fully, adding t or d. 

Remark; — In describing the direction in which the various 
characters are written, north is understood to be the top of the 
page ; south, the bottom ; east, the right-hand, and west, the 
left. 9 



90 MANUAL OF BRACHYGRAPHY. 

EXERCISE X. 

1. Spf, spk, spr/, sp^, sp^, spx>, sp;, spe, spa, spr?, spr, spi:, 
spA, sp<^, spa>. 

2. Sp£r, spkr, spr/r, spo'r, sp^r, spx>r, sp?r, sper, spar, spor, 
sp-r, sp^r, sp^r, sp^>r, spa>r. 

3. Sp£l, Spkl, spr/1, spol, sprrl, Spi>l, Sp?l, spsl, Spal, Spol, Sp^l, 

sp^l, spxl, sp^l, spa>l. 

1. Sp^m, spkm, spv/m, spotoi, sp<xm, spi>m, sp?m, spem, spam, 
sp<7m, spTrm, sp^m, sp^m, sp^m, spa>m, sp;mp, spemp, &c. 

2. Spcmr, spkmr, spw'mr, sp^mr, sp^mr, spi>mr, spjmr, spsmr, 
spamr, spomr, sp-mr, sp^mr, spAmr, spc^mr, spamir, 
sp;mpr, spempr, &c. 

3. Spfml, spkml, sptfml, sp^ml, sp^ml, spi>ml, sp?ml, sp^ml, 
spaml, spoml, sp7rml, sp^ml, sp/ml, sp^ml, spamil, spjmpl, 
spsmpl, &c. 

1. Sp?n, spkn, sptfn, spoto, sp^n, spjm,sp;n, spen, span, sprm, 
sprn, sprn,-sp/n, sp^'n, spam, spmk, spsnk, &c. 

2. Spfnr, spknr, spr/nr, sp^nr, sp<mr, spi>nr, spmr, spenr, 
spanr,sprmr, sp-nr, spimr, spAnr, sp^'nr, spamr, spmkr, &c. 

3. Sp?nl, spknl, spr/n], sp^nl, sp<ml, spiml, sp;nl, spenl, spanl, 
sprml, sp7rnl, sp^nl, sp^nl, sp^nl, spaml, spmgl, spengl, &c. 

1. St?, stk, sW, stc/,. st(7, ste, st?, ste, sta, sin, strr, sto, sU, 
st^, sta>. 

2. Stfr, stkr, str/r, stc/r, star, sti>r, st;r, ster, star, star, strr, 
st^r, stxr, st^r, sta>r. 

3. Stcl, st&l. sWl, sWl, st<rl, stol, st;l, stel, stal, str?l, strrl, sUl, 
sMl, st^l, staj. 

1. Stfm, stkm, str/m, sWm, st<nn, stem, st?m, stem, stam, 
stom, strrm, sbm, sUm, st^m, sWm, st?mp, stemp, &c. 

2. St£mr, stkmr, str/mr, sWmr, st^rmr, sti>mr, st;mr, stemr, 
stamr, st/mir, st-mr, st^mr, stAmr, st^mr, stamir, sbmpr, 
stempr, stampr, &c. 

3. Stcml, stkml, str/ml, sto'ml, sUml, sti>ml, st;ml, steml, 
staml, st^ml, st7rml, stoml, sUml, st^ml, stwml, st?mpl, 
stempl, stampl, &c. 

1. Stfn, stkn, str/n, sWn, sWn, st^n, stm, skn, stan, stem, 
st^-n, st^n, sUn, st^n, st^n, stmg, steng, &c. 

2. Stcnr, st^tnr, str/nr, st^/nr, st<rnr, sUnr, stmr, stenr, stanr, 
st^nr, st7rnr, sUnr, sUnr, st^nr, stwnr, stmgr, &c. 

3. Stcnl, sticnl, str/nl, sto'nl, st<rnl, sti>nl, stml, stenl, stanl, 
stanl, st^nl, sUnl, sUnl, st^nl, staml, stmgl, stengl, &c. 



1 


VOWELS AND COMBINATIONS 

PHONIC EXERCISE. X 


91 


2 
3 

1 
2 


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3 


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3 

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2 


1L _. ^.. „£_ ^. J. 

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' v ? 



92 MANUAL OF BRACHYGRAPHY. 

Transposition of final consonants. 

2. Sperm, spkrm, spr/rm, sp</rm, sp<rrm, spi>rm, sp7rm, sperm, 
sparm, sporm, sp-rm, spiirm, spArm, sp^'rm, spwrm. 

3. Spflm, spklm, sp7Vlm, spdlm, sp^lm, sp^lm, sp7lm, spelm, 
spalm, sp^lm, sprlm, sp^lm, sp/lm, sp^'lm, sp^lm. 

2. Sp|rn, sparn, spryrn, sp^rn, sp<rrn, sp.0rn, sp7rn, spern, 
spam, sparn, sp-rn, sp^rn, sp/rn, sp^rn, spa>rn. 

3. Sp|ln, spMn, sptfln, spr/ln, sp^ln, spi>ln, sp?ln, speln, spaln, 
sp^ln, sp-ln, spJn, sp/ln, sp^'ln, spwln. 

2. Sterm, st^rm, str/rm, sto'rm, st^rm, storm, st7rm, sterm, 
starm, starm, st7rrm, sturm, st/rm, st^rm, stwrm. 

3. St£lm, stklm, str/lm, sWlm, stolm, stolm, st?lm, stelm, 
stalm, stalm, strrlm, stelm, stAlm, st^'lm, stwlm. 

2. Stern, stkrn, stWrn, sWrn, st^rn, sti>rn, st7rn, stern, starn, 
starn, st-rn, st^rn, stxrn, st^rn, stwrn. 

3. Stcln, stMn, stWln, sWln, stoln, st^ln, st7ln, stein, stain, 
stain, st7rln, st^ln, st/ln, st^'ln, stwln. 

PRACTICAL EXERCISES. 

SP 

1. Spay, spy. 

2. Spear, spare, spar, spore, spoor, spur, spire. 

3. Spall, spool, spill, spell, spile, spoil. 
1. Sperm. 

1. Spain, spawn, spoon, spin, span, spun, spine, spank, spunk. 

2. Spinner, spurn, spanker. 

3. Spinal, spangle. 

1. Spit, spat, spot, spite, spout, speed, spade, spod, sped, spud, 
spied. 

2. Spotter, spatter, sputter, spiter, spouter, spider, speared, 
spared, sparred, sport, spirit, spurt, spired. 

3. Spittle, spilt, spelt, spoilt, spilled, spelled, spoiled. 

1. Spanked. 

2. Spurned, 

3. Spangled, spindle. 

ST 

1. Stay, stow, stew, sty. 

2. Steer, stair, star, stor, store, stir. 

3. Steal, stale, stall, stole, stool, still, stull, stile. 

1. Steam, stame, stim,stem, starn, stamp, stump. 

2. Steamer, stemmer, stammer, stamper, stumper, storm. 

3. Stumble. 



VOWELS AND COMBINATIONS. 93 

1. Stone, stoon, stin, sten, stan, stun w stine, sting, stang, 
stung, stink, stank, stunk. 

2. Stoner, stunner, stinger, stinker, stern. 

1. State, stot, stut, stout, steed, staid, sted, stud, stood. 

2. Stotter, stutter, stouter, steared, stared, starred, steward, 
start. 

3. Stolid, steeled. 

1. Steamed, stemmed, stamped, stumped. 

2. Stammered. 

3. Stumbled. 



EXERCISE XI. 

INITIAL DOUBLE AND TRIPLE CONSONANTS 
YEH, THR, SK, AND SKR. 

The single consonant y (pronounced yeh), is represented 
by a small semi-circle written in a horizontal direction from 
left to right, and is final as well as initial. If a small circle 
be divided by a horizontal straight line, drawn from west to 
east, the semi-circles formed on the upper and lower side of 
the line represent yeh. 

If the semi-circles representing yeh be heavily shaded, they 
represent the triple consonant thr. The only difference be- 
tween yeh and thr is in the shading. 

Examples of thr are found on the right of the first phonic 
group of three lines ; and the whole exercise should be writ- 
ten out through the whole series of vowels and combinations 
in the same manner as yeh. 

The initial double consonant sk is represented by a small 
back hook, commencing below horizontal, and to the left of 
perpendicular vowels and combinations, and running through 
them, forms the s circle in its course. On curved combina- 
tions the hook begins on the back or convex side of the phonic, 
and running through it, forms the s circle. 

The triple consonant skr is represented by shading the sk 
hook, examples of which are given on the right of the first 
phonic group in th e latter part of Phonic Exercise XI. 

9* 



94 MANUAL OF BRACHYGRAPHY. 

EXERCISE XI. 

1. Y£, yU, yr/, jd, y<r, ys>, y?, ye, ya, ya, y*,y:*,yA,y0, yw. 

2. Y|r, yfcr, yrfr, y</r, y<rr, y^r, y>r, yer, yar, yr?r, yrrr, y^r, 
y/r, y#r, y^r. 

3. Yfl, yfcl, yrfl, yd, yd, yd, y?l, yd, yal, yd, y-1, y*l, y/1, 
y^l, ja>\. 

1. Yfm, y&m, yr/m, y</m, y<rm, yi>m, y;m, yem, yam, yam, 
y-m, y^m, y/m, y^m, ywm, y>mp, yemp, yamp, yr?mp, 
y-mp, y^mp. 

2. Ycmr, ykmr, yrfmr, y^mr, y<nnr, yi>mr, y;mr, yemr, yarar, 
y^mr, y^rar, y^mr, yAmr, yv'' mr > y^mr, yjmpr, yempr, &c. 

3. Yfml, y&ml, yrfml, y^ml, y<nd, y^ml, y;ml, yeml, yard, 
ynml, y~ml, y^ml, y/ml, y^'ml, ywml, y?mpl, yempl, &c. 

1. Yfn, ykn,yr/n, yoto, y<rn, yi>n, y?n, yen, yan, yon, y^rn, y^n, 
y ;n , y^n, y^n, y;ng, yeng, yang, yong, y-Dg, y^Dg. 

2. Ylnr, yknr,yr/nr, yc/nr, y^nr, y-enr, ymr, yenr, yanr, yonr, 
y-nr, y^nr, y/nr, y^nr, y^nr, y;«gr, yengr, &c. 

3. Ycnl, yfcnj, yr/nl, yrfnl, y«ral, y*nl, y;nl, yenl, yanl, yonl, 
y-nl, y^nl, y/inl, y^nl, ywnl, y7nkl, yenkl, &c. 

1. Skc, skk, skr/, sko^, sk^, sks> } sk?, sk=r, ska, sko, sk-, sk^, 
sk/, sk^', sk^. 

2. Sk?r, skkr, skr/r, sko'r, sk<n*, sk^r, sk?r, sker, skar, skor, 
sk-r, sk^r, sk/r, sk^r, skwr. 

3. Skfl, skU, skr/1, sko'l, skd, ski>l, sk;l, skd, skal, ska], skrl, 
sk^l, sk/1, sk^l, skwl. 

1. Skcm, skknr, skr/m, skr/m, sk<7m, ski>m, sk7m, skem, skarn, 
skom, sk-m, sk^m, sk/m, sk^m, sk^m, sk;mp, skemp, &c. 

2. Skcmr, skkmr, skv/mr, sko'mr, sk^mr, sk^mr, sk;mr, 
skemr, skamr, skr?mr, sk-mr, sk^inr, sk^mr, sk^mr, 
skwmr, skjnipr, skempr, &c. 

3. Skrml, skicml, skr/ml, sk^'ml^ sk(7ml ; ski>ml, sk?ml, skeml, 
skaml, skoml, sk-ml, sk^ml, sk/ml, sk^ml^ ska>ml, sk;mpl, 
skcmpl^, &c. 

1. Sk|n, skkir, skr/n, sk^n, skrrn, ski>n, skm, sken, skan, sk<^n, 
sk-n, sk^n, sk/n, sk^n, sk^n, sk;nk, skenk, &c. 

2. Skcnr, sk^nr, skr/nr, sk(/nr, sk^rnr, ski>nr, skmr, sksnr, skanr, 
skr^nr, sk-nr, sk^nr, skAnr, sk^nr, skamr, skmkr, &c. 

3. Skf nl, sk^cnl, skr/nl, sk^nl, sk^rd, ski?d, skml, sked, skad, 
skrml, sk7rd, sk^d, skAnl, sk^d, sk'wd ; skmkl, skenkl, &c. 



VOWELS AND COMBINATIONS. 

PHONIC EXERCISE XI. 



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96 MANUAL OF BRACHYGRAPHY. 

Transposition of final consonants. 

2. Y£rm, y&rm, yr/rm, yc/rm, y^rm, yi>rm, y7rm, yerm, yarm, 
yarm, y7rrm, yurm, y^rm, y^'rm, y^rm. 

3. Y|lm, yldm, yrVlm, yolm, y^lm, yi>lm, y7lm, yelm, yalm, 
yolm, yTrlm, y^lm, yxlm, y^lm, y^lm. 

2. Y|rn, yfcrn, yr/rn, y^rn, ycrrn, y^rn, y?rn, yern, yarn, 
y^rn, yTrrn, yarn, y/rn, y^rn, y^rn. 

3. Y£ln, ykln, yr/ln, y</ln, y<xln, yi>ln, y7ln, yeln, yaln, yaln, 
yTrln, yaln, yAln, y^'ln, yoAn. 

2. Skfrm, skkrm, skr/rm, sk^rm, skarm, ski>rm, sk7rm, skerm, 
skarm, skorm, sk-rm, skarm, skArm, sk^rm, skwrm. 

3. Skflm, skklm, skr/lm, skolm, sk<rlm, skx>lm, sk7lm, skelm, 
skalm, sk^lm, skrtlm, skalm, sk^lm, sk^lm, sk^lm. 

2. Skfrn, skkrn, skr/rn, sk^rn, sk^rn, ski?rn, sk7m, skern, 
skarn, skarn, sk7rrn, skarn, skArn, sk^rn, sk^rn. 

3. Skfln, skMn, skr/ln, skoln, sk^ln, ski>ln, sk7ln, skdn, skaln, 
skaln, sk-ln, skaln, sk^ln, sk^ln, sWn. 

PRACTICAL EXERCISES. 

1. Ye, yea, you. 

2. Year, yore, your. 

3. Yeal, yawl, youl, yell. 

1. Yim, yam, yamp. 

2. Yammer, yamper. 

3. Yimple. 

1. Yon, youn, yan, yine, yoin, yorn, yank, young. 

2. Yanker, younker, younger, yarn. 

1. Yacht, Ute, yet. 

2. Yard, yoird. 

3. Yield, yelled. 



VOWELS AND COMBINATIONS. 97 

1. Yammered. 

1. Yinked, yanked. 

2. Yarned, yonder. 

1. Three, throw, through. 

2. Thrower. 

3. Thrall, thrill. 

1. Thrine, throng. 

2. Thronger. 

1. Throat, threat, thro wed, thread. 

3. Throttle, thrilled, thralled. 

1. Thrumed, thrumped. 
1. Thronged. 

1. Sky, skow. 

2. Scare, scar, score. 

3. Scale, school, skill, skull, skile, scowl. 

1. Scheme, skim, scum, scamp. 

2. Schemer, scamper. 

1. Skein, scan, skunk. 

2, Scanner, schooner, scorn. 

1. Scate, Scot, skoot, skit, skite, scout. 

2. Scatter, scudder. 

3. Scaled, scald, scold, schooled, skilled, scowled. 

1. Scampered. 

1. Skinned, scanned, skunk, scant. 

2. Scorned, scanter. 

3. Scandal. 

1. Screw, 

3. Screel, scrawl. 



98 MANUAL OF BRACHYGRAPHY. 

1. Scream, scramp. 

2. Screamer. 

3. Scramble. 

1. Screen. 

1. Screed. 
3. Scrawled. 

1. Screamed. 
3. Scrambled. 

1. Screened. 



VOWELS AND COMBINATIONS. 99 



EXERCISE XII. 

INITIAL DOUBLE AND TRIPLE CONSONANTS 
SW AND SKW. 

The initial double consonant sw is represented on straight 
line phonics by a small circle written on the under side of 
horizontals and on the left side of perpendiculars. It is 
similar in all respects to the s circle, except that it is formed 
on the opposite side of the phonic. 

On curved phonics sw is represented by a small loop writ- 
ten inside of the curve, to distinguish it from the s circle 
written in the same position, as seen in the second and third 
groups of the first part of Phonic Exercise XII. 

The triple consonant skw is represented by a small back 
hook commencing above horizontal and to the right of perpen- 
dicular straight line phonics, running through the phonic, 
and forming the sw circle in its course. 

On curves the back hook is commenced in the same way, 
but in running through the curve it forms the sw loop instead 
of a circle. 

When the small back hook on either straight or curved 
phonics is shaded heavily, it represents the triple consonant 
sklj but it is seldom used. 



100 MANUAL OF BRACHYGRAPHY. 

EXERCISE XII. 

1 . Swc , SWk, SW'f/, SW^, SWtf, SW.P, SW?, SW£, SW«, SWft, SW~, SW^, 
swA, SW0, swa>. 

2. Swfr, swkr, swr/r, sw^r, sw^r, swi>r, sw?r, swer, swaf, 
swor, swTrr, sw^r, sw^r, sw^r, swwr. 

3. Swfl, SW&1, SWr/1, SWol, SWtfl, SWi>l, sw?l, swel, swal, swol, 
SWTcl, SWid, swAl, SW01, SWftd. 

1. Swfm, swkm, swr/m, swo'm, sw^m, swi>m, swjm, swem, 
swam, sworn, sw^m, sw^m, swAm, sw^m, sw^m, sw7mp, 
swemp, swamp, swamp, sw-mp, sw^mp. 

2. Swfmr, swkmr, swr/mr, swo'mr, sw^mr, swi>mr, sw?mr, 
swemr, swamr, swomr, sw^mr, sw^mr, sw^mr, sw^mr, 
sw^mr, sw?mpr, swsmpr, &c. 

3. Swfml, swkml, swr/ml, sw^ml, sw<?ml, swi>ml, sw?ml, sweml, 
swaml, sw^ml, sw-ml, sw^ml, swAml, sw^ml, sw^ml, 
swjmpl, swempl, &c. 

1. Swrn, swkn, sw-r/n, swo'n, sw<m, swi>n, swm, swen, swan, 
swon, sw-n, sw^n, swAn, sw^n, swwn, sw?ng, swsng, &c. 

2. Swcnr, swknr, swr/nr, swo'nr, sw<rnr, swi?nr, sw:nr, swsnr, 
swanr, swonr, sw-nr, sw^nr, sw^nr, sw^nr, swwnr, 
swmkr, swsnkr, &c. 

3. Swcnl, swknl, swr/nl, sw</nl, sw<ml, swiml, swml, swenl, 
swanl, swonl, sw^nl, sw^nl, swAnl, swv /; nl, swwnl, swmgl, 
swengl, &c. 

1. Skwl, skwk, skwr/, skwo 1 , skw<r, skwi>, skw?, skwe, skwa, 

skwo, skwTr, skw^, skwvl, skw</', skw^. 

2. Skwfr, skwkr, skwr/r, skwo'r, skw<xr, skw^r, skw>r, skwer, 
skwar, skwor, skw7rr, skw^r, skw^r, skw^r, skw&>r. 

3. Skwfl, skwkl, skwr/1, skw^l, skwd, skwi>l, skw?l, skwel, 
skwal, skwol, skw-l, skw^l, skwAl, skw^l, skwaJ. 

1. Skwlm, skwkm, skwr/m, skw^m, skw<rm, skwi?m, skw;m, 
skwsm, skwam, skwom, skw-m, skw^m, skw/lm, skw^m, 
skwwm, skw7mp, skwemp, &c. 

2. Skw£mr, skwkmr, skwr/mr, skwo'mr, skw<rmr, skwi>mr, 
skwjmr, skwemr, skwamr, skwomr, skwrrmr, skw^mr, 
skwAmr, skwamr, skwwmr, skwjinpr, &c. 

3. Skwcml, skw^tml, skwr/ml, skw^ml, skw^rml, skwi>ml, 
skwjml, skweml, skwaml, skwoml, skwTrml, skw^ml, 
skwAml, skwaml, skwaml, &c. 



VOWELS AND COMBINATIONS. 101 

PHONIC EXERCISE XII. 



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102 MANUAL OP SRACHYGRAPHY. 

1. Skwln, skwkn, skwv/n, skw^n, skw<rn, skwi>n, skw?n, 
skwen, skwcm, skwon, skw-n, skw^n, skwAn, skw^n, 
skw^n, skwmk, &c. 

2. Skwfnr, skwknr, skwr/nr, skw^nr, skw<rnr, skw.enr, 
skwmr, skwenr, skwanr, skwanr, skw-nr. skwanr, skwAnr, 
skwanr, skwanr, skwmkr, &c. 

3. Skwfnl, skwknl, skwr/nl, skwoW, skw^nl, skwi>nl, skwml, 
skwenl, skwanl, skwrml, skwfnl, skwfnl, skwAnl, skwfnl, 
skwanl, skwmklt, &c. 



Transposition of final consonants. 

2. Swlrm, swkrm, swr/rm, sw^rm, swarm, sw.orm, &c. 

3. SwUm, swklm, swr/lm, sw^lm, sw<rlm, swalm, &c. 

2. Sw^rn, sw&rn, swr/rn, swdrn, sw^rn, swi>rn, &c. 

3. Sw^ln, swfoln, swr/ln, swdln, swain, swuln, &c. 

2. Skw|rm, skwkrm, skwr/rm, skw^rm, skw<mn, skwi>rm, &c. 

3. Skw|lm, skw^lm, skwr/lm, skw^lm, skw<rlm, skw.elm, &c. 

2. Skwcrn, skw&rn, skwr/rn, skw^rn, skw^rn. skwi>rn, &c. 

3. Skw^ln, skwkln, skwr/ln, skwoln, skw<rln, skw-eln, &c. 

PRACTICAL EXERCISES, 

1. Sway. 

2. Swear, swore, swire. 

3. Swale, swill, swell. 

1. Swim, swam, swamp* 

2. Swimmer, swammer, swarm. 

1. Swain, swan, swoon, swine, swing, swang, swung. 

2. Swinner, swinger, sworn. 

3. Swollen, swiln, sweln, swangle. 

1. Sweet, swet, sweed, swayed, swad. 

2. Sward, sweeter, swetter. 

3. Swaled, swallowed, swilled, swelled, swaddle. 



VOWELS AND COMBINATIONS. 103 



1. Swamped. 

2. Swarmed. 

1. Swint, swooned. 

3. Swindle. 

1. Squaw. 

2. Squeer, square, squire. 

3. Squeal, squall, squill. 

1. Squeam. 
1. Squean. 

1. Squat. 

2. Squatter, squared. 

3. Squealed, squalled. 

2, Squander. 



EXERCISE XIII. 

INITIAL DOUBLE CONSONANTS FR AND FL. 

The initial double consonants fr and fl are indicated by 
short, light ticks or strokes, joined to the main body of the 
vowel or combination so as to form an acute angle with it. 
When the tick is written on the under side of horizontal, and 
on the left of perpendicular characters, it indicates fr ; when 
written on the upper side of horizontal and on the right of 
perpendicular characters, it indicates fl. 



104 MANUAL OF BRACK YGRAPBY. 

EXERCISE XIII. 

1. Frc, frfc, frr/, fro', fivr, ft\e, fr;, frc, fra, fro, fr-, fr^, fr/, 
fr^', frw. 

2. Frfr, fRr, frr/r, fro'r, frar, fn>r, fr;r, frer, frar, fror, fr~r, 
fr^r, fr/r, fr^r, fr^r. 

3. Frfl, frU, frr/1, fe/1, fr*l, frx>l, fr;l, frel, fral, foil, fori, fhd, 
fr/1, fr^l, frwl. 

1. Frrm, frkm, frr/m, fo/m, fr<rm, fri>m, fnm, frem. fram, 
from, fr-m, fr^in, &c. 

2. Frfmr, frkmr, frtfmr, fro'mr, fr<rmr, fn>mr, fnmr, ft-emr, 
framr, frr?mr, fr-mr, fcmr, &c. 

3. Frcml, frfcml, fWml, fn/ml, fr<rml, fn>ml, fr;ml, frsml, 
framl, froml, fr-ml, fr^ml, &c. 

1. Frrn, frfcn, frr/n, fiv/n, frcrn, fri>n, fr;n, fren, fran, fom, 
fr-n, fr^n, &c. 

2. Frfnr, frknr, frr/nr, frrVnr, fr<nir, frrmr, frjnr, frenr, franr, 
frrmr, fr-nr, fr^nr, &c. 

3. Frfnl, frknl, fn/nl, ftv/nl, ftvrnl, fr^nl, frml, frenl, franl, 
franl, fr-nl, fr^nl,'&c. 

1. Flc, flkj fl/v', fiV, fl<7, fla, fl;, fls, fla, flo, fl-, flr, fl/, fl^', flw, 

2. Flcr, flfcr, flr/r, nVr, fl<xr, fl^r, fl?r, fler, flar, flor, fl-r, fl^r, 
fl/r, fl^r, flwr. 

3. F1?I, AM, flr/1, flVl, flVl, fl*l, fl?l, flel, fla], fl*l, fl-l, tal, 

fl/1, fl^l, flwl. 

1. Firm, flkm, frV/m, ftVm, frVm, fLem, fbm, flem, flam, flrmi, 
fl-m, fl^m, &c. 

2. Flfmr, flimr, nVmr, fl^/mr, nVmr, ftamr, fl;mr, flemr,flamr, 
flomr, fl-mr, fl^mr, &c. 

3. Flfml, flfcml, flr/ml, flVml, flVml, fl*ml, fl;ml, flsml, flaml, 
floml, fl-ml, fl^ml, &c. 

l.Fl|n, flkn, flr/n, ftVn, fiVn, firm, fl;n, flen, flan, firm, fl-n, 
flrn, &c. 

2. Flfnr, flfcnr, flr/nr, nVnr, nVnr, fli>nr, fl;nr, flenr, flanr, 
flrmr, fl-nr, fl^nr, Ac. 

3. F1|d1, fl^-nl, flr/nl, fl^nl, flrrnl, flxml, flml, flenl, flanl, flonl, 
flTrnl, fl^nl, &q. 



VOWELS AND COMBINATIONS. 105 



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106 MANUAL OF BRACHYGRArilY, 

Transposition of final consonants. 

2. Frfrm, frkrm, frr/rm, fr^/rm, ftvxrm, frerm, fnrm, frerm, &c. 

3. Frflm, frklm, fir/lm, frolm, fr^rlni, fri>lm, frjlm, frelm, &c. 

2. Frfrn, frkm, frr/rn, fro'rn, fr^m, fn>rn, fr?rn, frern, &c. 

3. Frcln, frkln, frr/ln, frt/ln, ftvrln, fri>ln, £nln, freln, &c. 

2. Flrrm, fl^rm, fiV/rm, fiVrm, fl^rm, florin, fbrm, flsrm, &c. 

3. Flflm, flUm, flr/lm, flVlm, fl<rlm, Mm, fl;lm, flslm, &c. 

2. Flfm, flfcrn, fiV/rn, fiVrn, fiVrn, flora, fljrn, flern, flarn, &c. 

3, Fl?ln, flfcln, flr/ln, fiVln, flirln, foln, fl;ln, flsln, flaln, &c. 



PRACTICAL EXERCISES. 

1. Free, fray, fro, fry, frow. 

2. Freer, frayer, fryer. 

3. Frail, frill. 

1. Frame, from, frimp. 

2. Framer. 

1. Frank. 

2. Franker. 

1. Freed, frayed, fraud, Fred, fried, Froude, freight, fraught, 
frit, fret, fright. 

2. Fritter, freighter. 

1 . Framed. 

1. Front, franked, friend. 

1. Flee, flay, flaw, flow, flew, fly. 

2. Flayer, floor, flyer, flower. 

3. Flail. 



VOWELS AND COMBINATIONS. 107 

1. Flame, flume, Phlegur, flam, flamp, flump. 

« 

1. Flown, Flinn, fling, flung, flank, flunk. 

2. Flanker, flunker. 

3. Flannel. 

1. Fleet, flate, not, float, flute, flat, flight, flout, flayed, fled. 

2. Fleeter, floater, flitter, flatter, flutter, flouter, flared, floored, 
flured, flowered. 

3. Flailed. 

1. Flamed, flumed, flumped. 

1 . Flint, flaunt, flanked, flunked. 
3. Flinder, Flander, flounder. 



EXERCISE XIV. 

INITIAL DOUBLE CONSONANTS KR AND GR 
(GAY-R). 

The initial double consonant kr is represented by a short, 
light tick, written in either a horizontal or perpendicular di- 
rection, and joined to the w hook. It matters not at what 
angle the main body of the phonic may be written, the tick is 
always written either horizontally or perpendicularly. 

The initial double consonant gr {goy-r) is similar in all 
respects to 7cr, except that it is shaded. 



108 MANUAL OF BRACHYGRAPHY. 

EXERCISE XIV. 

1. Krc, krk, krr/, kro^ kr<r, kri>, kr? ; krs, kra, km, krrr, kra, 
krA, kr^, krw. 

2. Krfr, kr/^r, krtfr, kro^r, krsr, kr.er, kr?r, km*, krar, kror, 
kr-r, krar, krAr, kr^r, kr^r. 

3. Krcl, kr^l, krr/1, krol, kr<rl, kn>l, kr;l, krel, kral, krol, kr-1, 
kral, krAl, kr^l, kr^l. 

1. Krcm, krkm, krr/m, kro'm, kr^m, kn>m ; kr;m, krem, kram, 
krom, krrrm, kram, &c. 

2. Krcmr, kr&mr, krr/mr, kr^mr, kr^mr, kri>mr,kr?mr, kremr, 
kramr, kromr, kr-mr, kramr, &c. 

3. Krcml, krfcml, krr/ml, kr^ml, kr<nnl, kri>ml, kr?ml, kreml, 
kraml, kroml, kr-ml, kraml, &c. 

1. Kr£n, krkn, krr/n, kr^n, kr<rn, krx>n, kr;n, kren, kran, 
kron, kran, kran, &c. 

2. Krcnr, krknr, krr/nr, krotor, kr<mr, kri>nr, kr?nr, krenr, 

kranr, krrmr, kr-nr, kranr, &c. 

3. Krfnl, krfenl, krr/nl, krofal, kr^nl, kri>nl, kr;nl, kreol, kranl, 
krrml, kranl, kraal, &c. 

1. Grc, gr«c, grr/, gr</, gr<r, gri>, gr>, gre, gra, grr?, gr*, gra, 
gvkj gr^, grw. 

2. Grfr, grfcr, grr/r, gr</r, gr<rr, grx>r, gr;r, grsr, grar, gror, 
grar, grar, gr/r, gr^r, grwr. 

3. Grfl, gr&l, grrfl, grol, gr<rl, gral, gr;l, grel, gral, gml, gral, 
gral, grAl, grtf'l, greed. 

1. Grfm, gr^m, grWm, gn/m. gr^m, gram, gr;m, grem, gram, 
groin, gram, gram, &c. 

2. Gr|mr, grkmr, grr/mr, grotor, gramr, gramr, gnmr, gremr, 
gramr, gmmr, gramr, gramr, &c. 

3. Grfml, grkml, grr/ml, gre/ml, graml, graml, gr;ml, greml, 
graml, graml, graml, graml, &c. 

1. Grfn, grfcn, grr/n, grc/n, gran, gran, grm, gren,gran, gran, 
gran, gran, &c. 

2. Grfnr, gr^nr, grr/nr 7 grotor, gr^rnr, gri>nr, gr;nr, grsnr, 
granr, gmnr, gr7rnr, granr, &c. 

3. Gr£nl, gr^nl, grr/nl, gr(/nl, gr<ml, gri>nl, grml, grenl, granl, 
gronl, gr^nl, granl, &c* 



VOWELS AND COMBINATIONS. 109 

PHONIC EXERCISE XIV. 

l**^ L-.«,J L..1..U 

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110 MANUAL OF BRACHYGRAPHY. 

Transposition of final consonants, 

2. Krfrm, krkrm, krr/rm, kr^rm, kr^rm, kri>rm, kr?rm, &c. 

3. Kr|lm, krWm, krr/lm, krolm, kr<rlm, kri>lm, kr;lm, &c. 

2. Krfrn, kr&rn, krr/rn, kr^rn, krarn, kr^rn, kr?rn, &c. 

3. Kr|ln, krMn, krr/ln, kroln, kr<rln, kri>ln, kr?ln, &c. 

2. Gr£rm, gr&rm, grr/rm, grotan, gr<xrm, gri>rm, gr;rm, &c. 

3. Grflin, grklin, grr/lm, grdlm, gr^lm, grulm, grjlm, &c. 

2. Grfrn, grfcrn, gn/rn, gr^rn, gr<rrn, gri>rn, gnrn, &c. 

3. Gr£ln, grkln, grr/ln, groin, gr<rln, gr.eln, gnln, &c. 

PRACTICAL EXERCISES. 

1. Craw, crow, crew, cry, croi, crow. 

2. Crower, cryer. 

3. Crawl, cruel. 

1* Cream, crim, cram, crime, crimp, cramp, crump, crumb. 

2. Crimmer, crammer, crimper, crumper. 

3. Crumble, crumple. 

1. Crane, crayon, crone, croon, crown, crink, crank, crunk. 

2. Croner, cranker. 

3. Crinkle, crankle, crunkle. 

1. Creed, crowed, crude, crud, cried, crate, crout. 

2. Critter. 

3. Cradle, craddle, cruddle. 

1. Crammed, crimped, cramped, crumped. 

2. Crimpled, crumbled, crumpled. 

1. Craned, crooned, crowned, cranked. 

1. Gray, grow, grew. 

2. Greer, grayer, grower. 

3. Greel, grail, gruel, grill. 



VOWELS AND COMBINATIONS. Ill 

1. Graham, groom, grim, gram. 

2. Groomer, grimmer, grammar. 

3. Grumble. 

1. Green, grain, groan, grown, grin, groin. 

2. Greener, 

1. Greet, great, grot, great, grit, greed, grade. 

2. Greater. 

1. Groomed, grimed. 

1. Grained, groaned, grinned, grand, grind, groined, ground, 
Grant, grunt. 

2. Granter, grunter, grander, grinder. 



EXERCISE XV. 

INITIAL DOUBLE CONSONANTS KL AND GL 

(GAY-L). 

The initial double consonant Id is represented by a short, 
light tick, written in either a horizontal or perpendicular di- 
rection, and joined to the /hook. The tick is always written 
in a horizontal or perpendicular direction, irrespective of the 
angle which the main body of the phonic may take. 

The initial double consonant gl (gat/4) is represented by a 
short, heavy tick, written either horizontally or perpendicu- 
larly, and joined to the /hook. It differs from hi only in the 
shading. 



112 MANUAL OF BRACHYGRAPHY. 

EXERCISE XV. 

1. Kle, klk, kk/, kW, kU, kh>, kb, kk, kk, kb?, kbr, kb, &c. 

2. Kl^r, klfcr, klr/r, kWr, kkr, kbr, kbr, kkr, klar, kbr, &c. 

3. Kl?l, kM, kbl, kbl, kbl, kbl, kbl, kkl, klal, kbl, &c. 

1. Klfm, klfcm, kb/m, kbm, kbm, kbm, kbm, kbm, &c. 

2. Kl?mr, kl&mr, kb/mr, kbmr, kbmr, kbmr, kbmr, &c. 

3. Kbml, kbml, klr/ml, kbml, kbml, kbml, kbml, &c. 

1. Kl?n, kbn, kb'n, kbn, kbn, kbn, kbn, kkn, kbn, &c. 

2. Klfnr, klknr, kbnr, kbnr, kbnr, kbnr, kbnr, kknr, &c. 

3. Klfnl, klfcnl, kb/nl, kbnl, kbnl, kbnl, kbnl, kbnl, &c. 

1. Glf, glfc, gb/, gb, gb, gb, gb, gb, gla, girt, gb, gb, Ac. 

2. Gbr, gbr, gb/r, gbr, gbr, gbr, gbr, gbr, gbr, gbr, &c. 

3. GUI, glfcl, gbl, gbl, gbl, gbl, gbl, gbl, glal, gbl, &c. 

1. Glfm, gbm, gbm, gbm, gbm, gbm, gbm, gbm, &c. 

2. Gllnir, gbmr, gWmr, gbmr, gbmr, gbmr, gbmr, &c. 

3. Gl?ml, gbml, glr/ml, gbml, gbml, gbml, gbnil, &c. 

1. Glen, gbn, gbn, gbn, gbn, gbn, gbn, gbn, gbn, &c. 

2. Glenr, gbnr, gbnr, gbnr, gbnr, gbnr, gbnr, gbnr, &c. 

3. Gbnl, gbnl, gb/nl, gbnl, gbnl, gbnl, gbnl, gbnl, &c. 

Transposition of final consonants. 

2. Kl?rm, kbrm, kb/rm, kbrm, kbrm, kbrm, kbrm, &c. 

3. Kl?lm, klfclm, kb/lm, kMm, kblm, kblm, kblm, &c. 
2» Klern, kbrn, kb/rn, klc/rn, kbrn, kbrn, kbrn, kbrn, &c. 
3. Klfln, kbln, kb/ln, klc/ln, kbln, kbln, kbln, kbln, &c. 

2. Gbrm, glfcrm, gb/rm, gle/rm, gbrm, gbrm, gbrm, &c. 

3. Glflm, gblm, gb/lm, gblm, gblm, gblm, gblm, &c. 

2. Glfrn, gbrn, gb/rn, gldrn, gbrn, gbrn, gbrn, gbrn, &c, 

3. Glfln, gbln, gb/ln, gbln, gbln, gbln, gbln, gbln, &c. 



VOWELS AND COMBINATIONS. 113 

PHONIC EXERCISE XV. 
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114 MANUAL OF BRACHYGRAPHY. 



PRACTICAL EXERCISES. 

1. Klee, clay, claw, Chloe, clew, cloy, clow. 

2. Clear, Clare. 

1. Claim, Clem, clam, climb, clamp, clump. 

2. Clamor, climber, clamper. 

1. Clean, clan, Kline, clown, cling, clink, clung, clank. 

2. Cleaner, clinker, clangor. 

1. Cleat, clat, clawed, clad, Clyde, cloyed. 

2. Clatter, cleared. 

1. Climbed, climped, clamped, clumped. 

2. Clamored. 

1. Cleaned, clinked, clanked, clanged. 

1. Glee, glow, glue. 

2. Glare, glower, glour. 

1. Gleam, glome, gloom, glim, glum. 

2. Gleamer, glommer, glomer, glimmer, glamour. 

1. Glean, glen. 

2. Gleaner. 

1. Gleet, gloat, glut, glade, glowed, glued, glad, glide. 

2. Gloater, gladder, glider. 

1. Gleamed. 

2. Glamoured, glimmered. 

1. Gleaned, gallant. 
1. Glander. 



VOWELS AND COMBINATIONS. 115 



EXERCISE XVI. 

INITIAL DOUBLE CONSONANTS PR, BR, TR AND 

DR % 

The initial double consonant pr is represented by a short 
light tick, written from north-west to south-east, and joined to 
the w hook. 

If the phonic pr be shaded, it represents br, as shown on 
the end of the first group in the latter part of Phonic Exer- 
cise XVI. 

The initial double consonant tr is represented by a short 
light tick, joined to the main body of the phonic vowel or 
combination in such a manner as to form an obtuse angle 
with it. 

If the phonic tr be shaded, it represents dr, as shown at 
the end of the first group in the latter part of Phonic Exer- 
cise XVI. 



116 MANUAL OF BRACHYGRAPHY. 

EXERCISE XV. 

1. Prf, prfc, prr/, pro^, piv, prx>, pr?, pre, pra, prrj, pr-, pri:, &c. 

2. Prlr, prkr, prr/r, pro'r, prar, pt\pr, pr;r, prer, prar, prr?r, &c. 

3. Prfl, prkl, prr/1, prol, pr<rl, pr.el, pr;l, prd, pral, prr?l, &c. 

1. Prcm, prkm, prr/m, pro'm, pr<rin, pri>m, prjm, prem, &c. 

2. Prcmr, prkmr, prv/mr, pr^mr, pr<rmr, pr.emr, pnmr, &c. 

3. Prfml, pr^ml, prr/ml, pr^ml, pr^ml, pri>ml, pnml, &c. 

1. Prcn, prkn, prr/n, pn/n, pr<rn, prim, prm, pren, pran, &c. 

2. Prfnr, prknr, prr/nr, pro^nr, pr<rnr, pn>nr, prmr, prenr, &c. 

3. Prcnl, pr&nl, prr/nl, prdnl, pr^nl, pri>nl, pr;nl, prenl, &c. 

1. Tr|, trk, trr/, trc/, tr<7, tri>, in, tre, tra, trr?, tr-, tr^ ? &c. 

2. Trrr, trkr, trtfr, tr^r, trcr, tr.or, tnr, trer, trar, trar, &c. , 

3. Tr?l, tr&l, trr/1, tro/1, tr^l, tri>l, tr;l, trd, tral, trol, &c. 

1. Trcm, trkm, trrim, tro/m, tr^m, tri>m, tr;m, trem, tram, &c. 

2. Trrmr, trkmr, trr/mr, tro'mr, tr<rmr, tn>mr, tnmr, tremr, &e, 

3. Trfml, trkml, trr/ml, tr</ml, tr<rml, tri>ml, tr;ml, treml, &c. 

1. Trfn, trkn, ,rr/n, tn/n, tr<rn, tri>n, trm, treii, trem, trrm, &c. 

2. Trcnr, tr^nr, trtfnr, tro'nr, tnrnr, trimr, trmr, trsnr, &c. 

3. Trial, tr^nl, trr/nl, trotol, tr<rnl, tr^nl, tr;nl, trenl, &c. 

Transposition of final consonants. 

2. Prcrm, pr&rm, pr//rm, pr^rm, pr^rm, pri>rm, pr?rm, &c. 

3. Pr£lm, prkhn, pn/lm, prdlm, pra-lm, pri>lm, pr;lm, &c. 

2. Prrrn, pr&rn, prr/rn, pr^rn, pram, pri>rn, pnrn, prern, &c. 

3. Prfln, prkln, prr/ln, pro'ln, prtfln, pri>ln, pr?In, preln, &c. 

2. Trfrm, tr^rm, tr7/rm, tr^rni, tr^roi, trc>rm, tr;rm, trerm, &c. 

3. Trflm, trklm, trr/lm, trolm, tr^lm, tr^lm, trjlm, trelm, &c. 

2. Trim, tr^rn, trr/rn, tr</rn, tram, torn, tnrn, trern, &c. 

3. Trlln, tr^ln, trr/ln, tr^liij tr^lu, tn>ln ; toln, treln, &c. 



VOWELS AND COMBINATIONS. 



117 



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PHONIC EXERCISE XVI. 
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118 MANUAL OF BRACHYGRAPHY. 

PRACTICAL EXERCISES. 

1. Pre, pray, pro, pry, prow. 

2. Prayer, prior. 

3. Prowl. 

1. Prim, prime, primp. 

2. Primmer, primer, primper. 

3. Primal. 

1. Prone, prune, prin, pran, prink, prank, prong. 
3. Pr angle. 

1. Prate, prit, Pratt, prayed, prod, prude, pride, proud. 

2. Praetor, prater, prodder. 

3. Prattle, prowled. 

1. Primed, primped. 

2. Prompter. 

3. Promptly. 

1. Pruned, pronged, print. 

2. Printer. 

3. Prindle, prandle. 

1. Bray, braw, brow. 

2. Brier. 

3. Brawl, brill, broil. 

1. Broom, brim. 

2. Brimmer. 

3. Bramble. 

1. Brain, bran, brine, brown, bring, brung. 

1. Breed, brayed, braid, broad, brood, bred, brat, bright, 
brought. 

2. Breeder, braider, broader, brighter, broider. 

3. Bridle, brittle, brawled. 
1. Brimmed. 

1. Brained, brand, browned, brunt. 



VOWELS AND COMBINATIONS. 119 

1. Tree, tray, true, try, Troy, trow. 
3. Trail, troll, trill, trial, trowel. 

1. Trim, tram, tramp, trump. 

2. Trimmer, tramper. 

3. Trammel, tremble, trample. 

1. Trine. 

2. Trainer. 

1. Treat, trait, trot, tret, trite, trout, treed, trade, trod, trode, 
trid, tred, tried, trowed. 

2. Treater, traitor, trotter, triter, trader, treder. 

3. Trailed, trilled, troweled. 

1. Trimmed, tramped, trumped. 
3. Trammeled, trembled, trampled. 

1. Trained, trinket. 

1. Dray, draw, dry. 

2. Drear, drawer, dryer. 

3. Drawl, drill. 

1. Dream, dram, drum. 

2. Dreamer, drummer. 

1. Drean, drain, drawn, drone, drink, drank, drunk. 

2. Drainer, drinker. 

1. Drayed, drawed, dred, dried. 

3. Drawled, drilled. 

1. Dreamed, drummed. 

1. Drained. 

2. Drunkard. 



120 MANUAL OF BRACHYGRAPHY. 



EXERCISE XVII. 

INITIAL DOUBLE CONSONANTS PL, BL AND 
FINAL N, NS, AND THE TERMINATION TION. 

The initial double consonant pi is represented by a short, 

light tick, written from the direction of the upper left-hand 

corner of the page toward the lower right-hand corner, and 
joined to the /hook. 

The initial double consonant hi is represented by a short, 
heavy tick, joined to the /hook, similar in all respects to pi, 
except the shading. (See Phonic Exercise XVII, first part.) 

The final consonant n is frequently represented by a small 
final hook turned to the under side of horizontal and to the 
left of perpendicular straight line phonic vowels and combi- 
nations. In the case of curves, the hook always follows 
the natural bend of the curve, and is turned to the inside of 
the same. 

The first group of three lines in the latter part of Phonic 
Exercise XVII represents the method of forming the final n 
hook. 

Final ns is represented by a small final circle turned to the 
under side of horizontal and to the left of perpendicular 
straight line phonic vowels and combinations. In the case 
of curves, the circle is turned inside of the n hook. 

The second group of three lines in the latter part of Phonic 
Exercise XVII represents the method of joining final ns. 

A large number oi English words end with the syllable 
Hon or sion. This termination is represented by a large final 



VOWELS AND COMBINATIONS. 121 

loop written on the upper side of horizontal and on the left 
side of perpendicular straight line vowels and combinations ; 
and on curves it follows the natural bend of the same, and is 
formed on the inside. 

The last group of three lines in the latter part of Phonic 
Exercise XVII represents the method of forming the termi- 
nation Hon or sion. 

It is assumed that by this time the student is sufficiently 
familiar with the formula of phonic vowels and combinations 
to write them out for himself. Hence, but three lines of each 
formula are given in the latter part of Phonic Exercise XVII. 

The latter part of Phonic Exercise XVII consists of parts 
of three separate and distinct exercises. It is very important 
that the entire formula of each of those exercises should be 
written out. 



122 MANUAL OF BRACHYGRAPIIY. 

EXERCISE XVII. 

1. Plf, plk, plrf, pW, pta, pta, pb, pie, pla, plo, plrr, pb, &c. 

2. Plfr, plkr, pb/r, pWr, pl<rr, ptar, pbr, pier, plar, plor, &c. 

3. Plcl, plkl, pb/1, plol, pkl, ptal, pbl, plel, plal, plol, pkl, &c. 

1. Plfm, plkm, plr/ni, pWm, pl<nn, ptam, pbm, plem, &c. 

2. Plcmr, plkmr, plr/mr, pWmr, pl^mr, pl/?mr, pbmr, plemr, &c. 

3. Pl^ml, plfeml, plr/ml, pWml, ptaml, ptaml, pbml, pleml, &C; 

1. Pirn, plkn, plr/n, pbm, ptan, pbm, pbn, plen, plan, &c. 

2. Plfnr, plknr, pk/nr, pWnr, pl<xnr, ptanr, pbnr, plenr, &c. 

3. Plcnl, plknl, pbr/nl, pWnl, ptanl, ptanl, pbnl, plenl, &c. 

1. £n, (in, r/n,-Vn, <m, i>n, ;n, en, an, on, -n, 2:n, An, ^n, «m. 

2. Men, mkn, nu/n, mo'n, mem, niim, mm, nun, man, mon, 
m/rn, m^n, mAn, m^'n, mwn, ;mpn, empn, ampn, ompn, 
rrmpn, ^mpn. 

3. Nfn, nkn, nr/n, noto, n<rn, n.f>n, n;n, nen, nan, non, n~n, 
n::n, nAn, n^n, nwn, ?ngn, engn, angn, ongn, ~ngn, ^ngn. 

1. £ns, kns, r/ns, ^ns, <rns, .ens, ms, ens, ans, ons, -ns, xns, 
Ans, ^ns, wns. 

2. Mrns, mkns, mr/ns, nWns, m<ms, mxms, nuns, mens, mans, 
mons, mrrns, m^ns, mAns, ra</'ns, mwns, ;mpns, empns, 
ampns, ompns, Trmpns, 2anpns. 

3. Nfns, nkns, nr/ns, n^/ns, n<ms, ni>ns, nms, nens, nans, 
nons, nrrns, n^ns, nAns, n^ns, nwns, mkns, enkns, ankns, 
onkns, Trnkns, ^nkns. 

1. ftion, ktion, r/tion, o'tion, <rtion, />tion, ?tion, etion, ation, 
ration, 7rtion, rtion, Ation, ^tion, wtion. 

2. Motion, motion, mr/tion, motion, motion, motion, motion, 
metion, mation, motion, motion, m7rtion, motion, motion, 
motion, ;mption, emption, amption, &c. 

3. Nation, nation, nrftion, nation, nation, nation, njtion, 
netion, nation, notion, nation, nation, nAtion, nation, 
nation, mktion, enktion, anktion, &c. 



jLl 



i * 



VOWELS AND COMBINATIONS. 

PHONIG EXERCISE XVII 



123 



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124 MANUAL OF BRACHYGRAPHY. 



Transposition of final consonants. 

2. Plfrm, plkrm, plr/rm, pWrm, pl<mn, ptarm, pl;rm, &c. 

3. Plllm, plklni, plr/lm, pMm, ptalin, plx>lni, pblm, &c. 

2. Plrrn, plkrn, pk/rn, pWrn, pl<rrn, pWn, pbrn, plern, &c. 

3. Pl?ln ; plkln, plr/ln, pWln, pMn, pleln, pbln, pleln, &c. 



FINAL JV. 

The student should fill out the phonic formula correspond- 
ing to the exercises below. 

1. <?n, kn, rJn, dn, <rn, du, m, en, an, on, -n, i:n ; An, ^n, am. 

2. £nr, knr, r/nr, o'nr, /rnr, imr, mr, enr, anr, rmr, ^nr, ^nr, &c. 

3. £nl, knl, /ml, o'nl, <nil, xml, ml, enl, anl, rml, -nl, ^nl, &c, 

1. Mfn, mkn, mr/n, mo'n, m<m, ni.?n, mm, men, man, &c. 

2. Mcnr, mknr, mr/nr, nWnr, m^rnr, mx>nr, inmr, menr, &c. 

3. Mini, mknl, mr/nl, mc/nl, m<rnl, num], mml, menl, &c. 

1. N£n, n^n, nr/n ; n^n, n<rn, nim, n7n, nen, nan, nrm, n-n, &c. 

2. Ncnr, nknr, nv/nr, nc/nr, n<rnr, nimr, nmr, nenr, nanr, &c. 

3. N£nl, nknl, nr/nl, noW, n^nl, niml, n;nl, nenl, nanl, &c. 



Transposition of final consonants. 

2. Mfrn, mfcrn, mr/rn, nWrn, ni<rrn, nu>rn, m?rn, inern, &c. 

3. Mfln, mkln, mr/ln, moln, m^ln, nu>ln, m?ln, meln, &c. 

2. N£rn, nkrn, nr/rn, no^rn, n<rrn, nx>rn, n;rn, nern, nam, &c. 

3. Nfln, nkln, nr/ln, n^/ln, ndn ; ni>ln, n?ln, neln, naln, &c. 



VOWELS AND COMBINATIONS. 125 

FINAL NS. 

1. <?ds, kns, r/ns, o'ns, <rns, i>ns, ?ns, sns, ans, ons, -ns, 2ins, &c. 

2. frns, krns, -Q'rns, o'rns, ams, .ems, jrns, erns, arns, ^rns, &c. 

3. ?lns, Mns, r/lns, olns, tflns, i>lns, 7lns, elns, alos, olns, &c. 

1. Mens, mkns, mr/ns, m^ns, m^rns, m.pns, mms, mens, &c. 

2. MrEjis, mkrns, mr/rns, mo'rns, mams, m.erns, m?rns, &c. 

3. Mflns, mMns, nitflns, molns, m<rlns, mi>lris, nulns, &c. 

1. Nfns, nkns, nr/ns, iWns, n<rns, nx>ns, nms, nens, nans, &c. 

2. Ncrns, nkrns, nr/rns, n^rns, n<rrns, ni>rns, n;rns, nerns, &c. 

3. Nclns, nklns, nr/lns, nolns, n<rlns, ni>lns, n?lns, nelns, &c. 

Remark. — The transposition of final consonants in the final 
ns formula is omitted, as it is not used in practice. 

FINAL TION—SION. 

1. £tion, ktion, r/tion, option, <rtion, i>tion, ;tion, etion, &c. 

2. £rtion, krtion, Wrtion, ^rtion, artion, i>rtion ; jrtion, &c. 

3. |ltion, kltion, r/ition, oltion, <rltion, i>ltion, 7ltion, &c. 

1. Mction, motion, mr/tion, motion, motion, motion, &c. 

2. Mfrtion, mkrtion, mr/rtion, mfrtion, martion, mfrtion, &c. 

3. Mfltion, motion, mr/ltion, motion, motion, motion, &c» 

1. Nation, nation, nation, nation, nation, nation, nation, &c. 

2. Nrrtion, n^rtion, nr/rtion, n^rtion, n^rtion, n^rtion, &c. 

3. N?ltion, nation, nWltion, nation, nation, nation, &c. 

Transposition of final tion or sion. 

2. ctionr, ktionr, Wtionr, ^tionr, tftionr, .ptionr, ;tionr, &c. 

3. |tionl, ^tionl, r/tionl, ^fcionl, <rtionl, i>tionl, ?tionl, &c. 

2. Mrtionr, m^tionr, mr/tionr, m^tionr, m<rtionr, mi>tionr, &c. 

3. Mftionl, m^tionl, mr/tionl, m^tionl, m<rtionl, m.ptionl, &c. 

2. N^tionr, nktionr, nr/tionr, n^tionr, n^tionr, nx>tionr, &c. 

3, Nltionl, nktionl, nr/tionl, n^tionl, n^tionl, n.*>tionl, &c. 

It is to be observed in the above exercise that the vowel 

12 



126 MANUAL OF BRACHYGRAPHY. 

follows the consonant in the second and third groups, which 
would be indicated in the phonic exercise by placing the 
shading at the latter end of the curve. The shading may, 
however, be placed at the beginning of the curve, thus 
transposing the vowel, and the same termination added and 
transposed ; thus : 

1. fmtion, kmtion, r/mtion, &c. 

PRACTICAL EXERCISES. 

1. Plea, play, ply, plow. 

2. Player. 

1. Plume, plum, plump. 

2. Plummer, plumper. 

1. Plane, plan, plank. 

2. Planer, planner. 

1. Blow, blue, blew, Bly. 

2. Blear, Blair. 

1. Blame, bloom. 

2. Blamer, bloomer. 
2. Blinker. 

1. Plead, played, plod, pled, plaid, plied, ployed, ploughed, 
pleat, plate, plot, plat, plight, ploit, plout. 

2. Pleader, plodder, pleater, plaiter, platter. 
1. Plumped, plumbed, plumed, 

1. Planed, planned, planked, plaint, plant. 

2. Planter. 

1. Bleed, blade, bled, blood, bleat, bloat, blat. 

2. Bladder, bleared. 
1. Blamed, bloomed. 

1. Blonde, blend, bland, blind, blunt, Blount. 

2, Blander, blinder, blunter. 



VOWELS AND COMBINATIONS. 127 

1. On, own, in. 

2. Erin, Aaron, iron. 

3. Allen. 

1. Mean, main, moan, moon, men, man, mine, 

2. Meaner, manner, minor, morn, mourn. 

3. Mullen. 

1. Noon, nin, nen, nan, non, nun, nine, noun, none. 

1 . Means, moans, moons, mans, mines. 

3. Melons, mullens. 

1. Nuns, nines, nouns. 

1. Ocean. 

1. Motion, mission. 

2. Motioner, missioner. 

3. Motional. 

1. Nation, notion. 

3. National, notional. 



EXERCISE XVIII. 
FINALS HOOK AND CURVE. 

The final consonant /is represented by a small, light hook, 
turned to the upper side of horizontal and to the right side of 
perpendicular straight line phonics. It is in all respects sim- 
ilar to the n hook on the first group phonics, except that it is 
turned to the opposite side. 

In the case of curves, the f hook cannot be conveniently 
turned to the back or convex side of the curve, and it is there- 
fore represented by a small, light semi-circle joined to the back 
of the curve, and written upward or downward as conven- 
ience of junction may require. 

When the hook and curve are shaded, they represent the 
sound of v. Usually a distinction between /and v is unneces- 
sary, but should it be required, it should be indicated in the 
method described. 



128 MANUAL OP BRACHYGEAPHY. 

EXERCISE XVIII. 

1 - -^ l t - _, l I , 

- --^ * * ~ v~i z - 

2 ^....<±...., V.....k. v ...r...^ 5Li, ». - 

A "= c =3 • r • t - 

i r^ ■> x -^ > i -:y~- ~ Iv . 

2 /l.zr. >...v rL^—jL^ : J__Jv^L/i > A 

3 ^„r>.„_.J_.-i_..,.-™-...^^..l.i .^...zv^ ij,. 

•^ v - ^\Tl ~ '<■ 

" c =» C~7~7 v ^ ' -c 

_ r 



2 



d — ^-^ £ s; - z *■ 



1. *f, Kf, r/f, rff, rf, rf, >f, ef, of, of, -f, af, If, <rf, wt 

2. efr, &fr, Wfr, d£t, rfr, oh, )fr, efr, ofr, ofr, rfr, rfr, &c. 

3. £fl, fofi, r/fl, </fl, fffl, *fl, =fl, sfl, «fl, rtfl, -fl, afl, /fl, &c. 

1. Mff, mof, mr/f, motf, merf, xao?, m?f, mrf, maf, mnf, &c. 

2. Mlfr, m'rfr, mrffr, mdh, mrfr, m.pfr, nufr, mefr, &c. 

3. M£fl, mfcfl, mrffl, m</fl, m<rfl, mj»fl, imfl, mefl, mail, &c. 

1. Nff, D«f, nr/f, notf, n<rf, n^f, n7f, nef, naf, nof, n-f, &c. 

2. Nffr, n&fr, n«fr, nofr, nrfr, ns>h, n;fr, nefr, nafr, &c. 

3. N?fl, nScfl, nr/fl, n</fl, n<rfl, n^fl, n;fl, nsfl, nofl, nofl, &c. 

Transposition of final consonants. 

2. frf, fcrf, Wrf, <kt, <rrf, *>rf jrf, srf arf, orf, ;rrf, &o. 

3. ?lf, &lf, r/lf, rflf, <rlf, Af, ?lf, elf, alf, «lf, nlf, &c. 

2. Mcrf, m&rf, mr/rf, mrfrf, morf, mwf, m;rf, msrf &c. 

3. Mllf, m!clf, mWlf, mrflf, m<rlf, m*lf, m;lf, melf, &c. 

2. Nfrf, ulivf, Drfrf, ndrf, norf, nr>rf,'n7rf, nerf, narf, &c. 

3. Nflf, nilf, nWlf, nc/lf, n<rlf, ni>lf, n>lf, mlf, naif, &c. 



VOWELS AND COMBINATIONS. 129 

PRACTICAL EXERCISES* 



1. Eve, of, off. 

2. Over, offer. 

3. Evil, oval, awful. 
1. Move, miff, muff. 
3. Muffle. 

1. Niefe, knave ; nuff, knife. 

2. Never, 



EXERCISE XIX, 

FINAL CONSONANTS R AND L. 

The final consonant r is represented by a large hook similar 
to the initial r hook, turned to the under side of horizontal 
and the left side of perpendicular phonics of the first and 
second groups. 

The final r hook does not apply to the n combination of the 
third group, as the difficulty of turning a hook on the convex 
side of the n curve would be greater than any advantage 
gained. 

Ear, air, are, or, oar, our, mere, mare, marr. 

n .........^ ± d .3.: .o..... . 



The final consonant I is represented by a large hook, similar 
to the initial I hook, turned to the upper side of horizontal 
and to the left side of perpendicular phonics of the first and 
third groups. The final I hook does not apply to the m com- 
binations of the second group, for the reason already men- 

12* 



130 MANUAL OF BRACHYGRAPHY. 

tioned above in regard to the turning of a hook on the 
convex side of a curve. 



EpI, ale, awl, all, ole, oil, neal, nail, nawl. 

G ~ ~ ^ 



h . o 



PRACTICAL EXERCISES. 



2. Error. 

3. Elar, ailer, oiler. 

1. Emir, empor, umpor. 

2. Emperor. 

3. Ampler. 

2. Oral, Earl. 

1. Annal, ankle, angle, uncle. 



EXERCISE XX. 

FINAL SYLLABLE ISH. 

The final syllable ish is represented by a small loop written 
on the upper side of horizontal and on the right side of per- 
pendicular phonics of the first group ; and on the inside of 
the curve on the remaining two groups. 

Final is h differs from the termination tion (or siori) only 
in size, ish being only one-half the size of the larger loop. 



The whole phonic formula should be filled out to correspond 
to the following phonotypes : 



VOWELS AND COMBINATIONS. 131 

1. fsh, ksh, r/sh, dsh, <rsh, i>sh, 2sn > £Sn > asft ; ^sh, ~ sn j - sn > 
Ash, ^sh, wsh. 

2. frsh, krsh, r/rsh, </rsh, tfrsh, i>rsh, 7rsh, ersh, arsh, ^rsh, 
Trrsh, i^rsh, Arsh, <^rsh, wish. 

3. fish, klsh, r/lsh, o'lsh, tflsh, i>lsh, ?lsh, elsh, alsh, ftlsh, Trlsh, 
iilsh, Alsh, ^'lsh, wish. 

1. Mesh, mksh, mr/sh, moteh, mesh, mi>sh, imsh, mesh, mash, 
mosh, m7:sh, m^sh, mAsh, m^'sh, rnwsh, 7mpsh, empsh, &c. 

2. Mcrsh, mkrsh, mr/rsh, nWrsh, mersh, mi>rsh, m7rsh, &c. 

3. Mclsh, mklsh, mr/lsh, m^lsh, malsh, m^lsh, mjlsh, &c. 

1. Ncsh, nksh, nr/sh, no'sh, nesh, ni>sh, msh, n~sh, nash, nr?-h, 
n-sh, niish, nAsh, n^sh, nwsh, mksh, snksh, anksh, &c. 

2. Nfrsh, nkrsh, nr/rsh, iWrsh, ncrrsb, ni>rsh ; mrsh, nersh, &c. 

3. Nclsh, nklsh, nr/lsh, Wish, nelsh, nx>lsh, n?lsh, nelsh ; &c. 



Transposition of final consonants. 

2. cshr, kshr, r/shr, otehr, <rshr, i>shr, jshr, eshr, ashr, &c. 

3. fshlj kshl, r/shl, o'shl, <rshl, s>$h\, 7shl, sshl, ashl, &c. 

2. Mcshr, mkshr, mr/shr, mc/shr, m<rshr, m.eshr, imshr, &c. 

3. Mrshlj m&shl, mr/shl, mo'shl, mcshl, mi>shl, m?shl, &c. 

2. Ncshr, nkshr, nr/shr, no'shr, neshr, ni>shr, rushr, neshr. &c. 

3. Ncshl, nfcshl, nr/shl, rWshl, neshl, n^shl, n7shl, neshl, &c. 



PRACTICAL EXERCISES. 

1. Ash. 

2. Asher, usher. 

1. Mash, mesh, mush, impish. 

2. Masher, marsh. 

1. Nish, nash, inkish. 

3. English, anklish. 



132 MANUAL OF BRACHYGRAPHY. 

EXERCISE XXI. 
FINAL ST AND STB, 

The final consonant st is represented by a small loop turned 
on the under side of horizontal and on the left of perpendicu- 
lar phonics of the first group ; or the initial st may be used as 
a final character. Final st is represented on second and third 
group phonics by the small semi-circle used as the initial, and 
written in the direction of the lower right-hand corner of the 
paper. 

Final str is similar in all respects to final st, except that it 
is shaded heavily. 

est, kst, v/st, r/st, <rst, r>st, n;st, nest, nast. 

_ S 



' r 



PRACTICAL EXERCISES. 

East, oozed, Easter, oyster. 
Most, missed, messed, mast, must, moist. 
Mister, master, muster, moister. 
Nozed, noozed, nest, Nast, noized. 



EXERCISE XXII. 

The aspirate sound of h is produced by placing a light dot 
before the word to be aspirated. The experienced reporter, 
however, generally omits the aspiration, the outline or form 
of the word being as legible without as with it. 

he, hay, ha, haw, ho, who, heme, hame, ham. 

i-L-*. JL^a JZzl. ^- _ 



VOWELS AND COMBINATIONS. 133 



PRACTICAL EXERCISES. 

Remark. — The student should turn back to Phonic Ex- 
ercise I, and pick out the following words, placing dot before 
the phonic in order to give it the aspiration : 

2. Hear, hair, hire. 

3* Heal, hale, hall, hole, hil, hell, Hal, hull, Hoyle, howl. 

1. Hame, home, whom, him, hem, ham, hum, hemp, hamp, 
hump. 

2. Homer, hemmer, hummer, hamper, humper, harm. 

1. Hone, hen, han, houn, hank, hang, hunk, hung. 

2. Hanker, hunker. 



EXERCISE XXIII. 

PREFIXES AND SUFFIXES. 

The ease and speed of phonic writing may be greatly facili- 
tated by the judicious use of convenient symbols as prefixes 
to a large class of words. 

CON AND COM. 

The prefixes con and com are both represented by a light 
dot placed before the main body of the phonic ; thus : 

convey, convene, confine, convulse, commend, command. 

— C 



TNG. 

The final syllable ing is most generally represented by a dot 
placed at the latter end of the phonic ; thus : 

Earing, airing, aring, oring, oaring, ooring, Ealing, ailing, aWllEg. 



134 MANUAL OP BRACHYGRAPHY. 

EX. 

The prefix ex is represented by a small light v or wedge 
shape character. When the same character is shaded it rep- 
resents the prefix ox ; thus : 



Extent, excel, except, accept, execute, exceed, exempt, oxygen. 

AT 



JL ^ A «H ±L ^_1 



SEMI-VOWELS. 

you, your, youl, we, wer, wel. 

— *< ** 
— i -* - * , 

THE INDEFINITE VOWEL. 

There is a large class of words beginning or ending with 
a vowel, to which no definite sound can be given, the vowel 
varying according to the pronunciation of different persons. 
This variable sound is represented by a small light tick written 
in a horizontal or perpendicular direction, as convenience may 
require ; thus : 



city, Neely, fellow, rally, misty, dusty, enough. 
_ C!._^.. 



J ^l'xX cl^ v 



"S*^S* 



DOUBLE S. 

When the small .s circle is made double the usual size, it 
represents double s, or the syllable ses ; as : 

pronounced cses, tees, Wses, dses, <rses, i>ses, ;ses, eses, &c. 



VOWELS AND COMBINATIONS. 135 

FINAL TIVE. 

The final syllable tive, as a suffix, may be represented by 
the final / semi-circle, heavily shaded ; thus : 

motive, dative, votive, active. 

A i - JL 



EXERCISE XXIV. 

METHOD OF REPRESENTING OTHER SINGLE 
AND DOUBLE CONSONANTS. 

The consonants t and d are represented by straight perpen- 
dicular lines about three-sixteenths of an inch in length ; the 
former consonant being written with a light stroke, the latter 
with a heavy stroke. 

The consonants p and b are represented by straight lines 
about three-sixteenths of an inch in length, written in the 
direction of the lower right-hand corner of the page ; the 
former being represented by a light and the latter by a heavy 
stroke. 

The consonants h and gay (g) are represented by straight 
horizontal lines about three-sixteenths of an inch in length ; the 
former written with a light, the latter with a heavy stroke. 

The consonants chay (cli) and j are represented by straight 
lines running in the direction of the lower left-hand corner of 
the page, and about the same length as the others ; chay is 
written with a light pressure upon the pen,/ with a heavy 
pressure. 



136 MANUAL OF BRACHYGRAPHY. 

The double consonant tha (tK) is somewhat similar to cliay, 
but it is written upward, and at a greater angle than chay. It 
is longer than chay, and is written at an angle of about 
twenty degrees above the horizontal line of writing. 

The triple consonant thr is represented by a semi-ellipse, 
written upward in the same direction as tha. 

T, X>, P, B, K, Gay, Chay, J,' Tha, Thr. 

li 1.) \L\\ .=...=...=.=...//...// ^ j_. 

It will be observed that each of the straight line consonants 
described above, is followed by a shorter one. The shortening 
of the character indicates that t or d is added, in the same 
manner as the shortening of the curves in Phonic Exercise II 
indicates the addition of t or d. 

The consonants described above, T, D, P, B, K, Gay, Chay, 
J, Tha, Thr, are known as " the long consonants." 

All the various single and double consonants represented by 
hooks and semi circles described in the following pages, may 
be joined, both initially and finally, to the long consonants in 
the same manner as they are to the vowels and combinations. 
When, however, a long consonant comes in the same line of 
writing with a vowel, as gay and £, the vowel cannot be dis- 
tinguished from the consonant, and in such cases the vowel 
may be separated from the consonant by drawing a light dash 
through the consonant at the beginning or end. 



VOWELS AND COMBINATIONS. 137 

EXERCISE XXV.. 

LENGTHENED M AND N CURVES. 

By making the curves representing the m and n combina- 
tions double the usual size, and shading at the beginning, the 
combination begins with p or b } according as the shading is 
light or heavy ; thus : 

p;m, pern, pam, pam, p7rm, p^m. 

- ~ ).)■'■■■■ 
-^~ ~ i ■ 

p7n, p^n, pan, pnn, p*n, p^n. 

^y ~ <r 

Remark. — To distinguish p from t, the shading should be 
heavier for b. 

When the shading is at the latter end of the curve, the 
combination ends with p or b, according as the shading is light 
or heavy ; thus : 

imp, mep, map, map, mrrp, mu,p. 

^—^ _ .^ 

n?p, nep, nap, nop, n-p, n^p. 

= — ^ , 

These lengthened curves may have r and I united with 
them, by writing them at the r and I angles ; but cannot be 
shortened to add t or d. 

13 



138 MANUAL OF BRACHYGRAPHY. 

The lengthened m curve, in the absence of shading at 
either end, but written with a light stroke throughout, signi- 
fies double m, as m?ni, mem, mam, &c. 

The lengthened n curve, without shading, signifies nm } as 
n?m, nem, nam, &c. 



SEMI-CIRCLE M AND N CURVES. 

By making the curves representing the m and n combina- 
tions in the form of a semi-circle, and shading at the begin- 
ning, the combination begins with h or gay, according as the 
shading is light or heavy ; thus : 

k?m, ksm, kam, kam, k7rm, k^m. 

5 



~ -^-T 

km, ken, kan, kan, k7rn, k^n. 

_w_ L r 

When the shading is at the latter end of the curve, the 
combination ends with h or gay, according as the shading is 
light or heavy ; the light shading indicating h, the heavy 
gay ; thus : 

m?k, mek, mak, mak, mTrk, m^k. 



^ 






mk, nek, nak, Jink, n?rk, n^k. 



^L„..j^ 



These combinations may also be written at the r and I 
angles. 



VOWELS AND COMBINATIONS. 139 

Both the lengthened curves and the semi-circle curves may 
have ng and mp added, by shading thenTthroughout ; thus : 

P?mp, pemp, pamp, &c. 
P;ng, peng, pang, &c. 

K;mp, kemp, kamp, &c. 
K;ng, keng, kang, &c. 

The lengthened curves and combinations cannot be short- 
ened to add t or d ; but the semi-circle combinations may be 
shortened for that purpose. 

When the indefinite articles, a, an or the, follow words end- 
ing in ing, they are usually indicated by a short, light dash. 
When the dash is made heavy it indicates the termination 
ingly ; thus : 

asking the, asking a, moderating the, moderating a, accordingly, laughingly. 



'c&r' 



The long consonants, with the r and I hooks attached, 
may be used as initial double consonants ; and in many in- 
stances the vowels may be omitted ; thus : 

grace, cress, press, brace. 

_=, ^_i L 



glaze, class, place, bless. 
_=£ \* V- 



140 MANUAL OF BRACHYGRAPHY. 

The final syllable we is indicated by a small, light back 
hook, made by continuing the final s circle through the line ; 
thus : 

apprehensive, expensive, extensive, pensive. 

W ^ 1 ^ 



The phrases " is the, as the, but the, but a, and the, and 
a," are indicated as follows : 

is the, is a, but the, but a. 



but the, but a, and the, and a. 



PHONIC SPELLING. 141 



PHONIC SPELLING. 



OMISSION OF VOWELS. 

In a word containing two or more syllables, one or more 
vowels must necessarily be out of position. In such cases the 
accented, or most prominent vowel in the word should occupy 
its proper position, and the rest should follow without regard 
to position. If the accented vowel or combination is written 
in its proper place, the legibility of the others is very little 
impaired by their being out of position. 

When a vowel occupies its proper position, it has but one 
invariable sound ; but when the outline of a word causes the 
second or third vowel to be out of its proper position, the 
power of the vowel is increased three-fold, that is, it can have 
one of three sounds, and the proper sound to be assigned to it 
will be selected by the ear, far more unerringly than it does 
from the forty- three different sounds represented by but five 
vowel characters in the English orthography. 

In many cases, also, the insertion of one vowel will render 
the word sufficiently legible, and the rest may be omitted. 
This is done in every instance in which the outline will admit 
of it. Every means possible, consistent with legibility, should 
be taken to shorten the outline of a word ; and, therefore, if 
a word is represented by a full consonant outline so suggestive 
that it cannot be mistaken for any other word, the vowels 
should be omitted, and the consonant outline alone relied upon 
to suggest the word. 

13* 



142 MANUAL OF BRACHYGRAPHY. 

Iq cases of the entire omission of the vowel, the consonant 
outline should be written in the position it would occupy if 
the vowel were inserted. The initial consonant, single or 
double, should be written in the position it would occupy if 
the vowel followed it ; then, if the vowel is omitted, the con- 
sonant should be attached to the initial consonant in that po- 
sition. 

A great fault of most systems of short-hand is the fact that 
they give too few practical exercises. The peculiar character 
of the work to be done on such a book, renders it very ex- 
pensive, and the tendency is to diminish rather than increase 
the practical exercises. The very best way for the student to 
make sure and rapid progress, is to faithfully and repeatedly 
copy the exercises that are given. Too many exercises would 
be almost as great a fault as too few. Enough should be 
given to embrace the most common words of the English lan- 
guage ; and this is done, not by the quantity, but by the 
quality of the exercises. By faithfully practising at a few ex- 
ercises until he can write them at reporting speed, the student 
will not only learn to write a better hand, but will impress a 
large vocabulary of words firmly upon his memory, and these 
will suggest the proper outlines of others. To become an ex- 
pert phonic writer, like any other profession, requires constant 
and faithful study. If the student, when he has attained 
proficiency enough to do ordinary reporting, ceases a system- 
atic course of practice, he will not be likely to ever attain emi- 
nence in his profession. On the other hand, if he, when he 
commences business, sets apart certain hours for practice, and 
faithfully adheres to his resolution, he cannot help but im- 
prove. 



PHONIC SPELLING. 



weed, 
wheatfield. 

wheelwright. 

wheezing. 

wheat. 



~1 



waved. 


en?.— 


waver. 


d..~ 


wary. 


c?„_ 


warehouse. 


£U- 


waylay. 


.O^. 


wayward. 


c^v.- 


weighty. 


*Z!~... 


whaler. 


fe£- 


waddle. 


t 


wanton. 


I 


warder. 


V , 


wondrous. 


'..1. 


wharf. 


<v, 


woeful. 


■fcj.«~ 



wo^en. 

witness. 

witticism. 

welfare. 

whaler. 

westward. 

whence. 

westerly. 

filter. 

favor. 

favored. 

fiercer. 

fiercely. 

failing. 

fairly. 

fairness. 

fairy. 

forfeit. 

falsehood. 



143 



■JUL. 






f 



144 



MANUAL OF BRACHYGRAPHY. 



falter. 


t tf 


folly. 


C 


foamy. 


J_ 


folder. 


jJL* 


foeman. 


Jfci- 


forswear. 


Vv 


finally. 


C 


foremost. 


A- 


felonious. 


.V**. 


female. 


£sL. 


family. 




inconvenience. 


fainter. 


..</..- 


festal. 


-t- 


faintness. 


J^L- 


fancy. 


i£$zr 


fervent. 


.L... 


fervor. 


_.kL 


function. 


X. 



funds. 


„...$... 


fundamental. 


-J*-. 


furlong. 


^1 


furlough. 


4- 


vineyard. 


!^\ 


virtuous. 


„%>„ 


racer. 


^ci_ 


raisin. 


jfcl. 


reason. 


c*- < 


redness. 


.s-r»... 


rafter. 


'7*"" 


railing. 


...o*.. 



railer. 

railroad. 

rainy. 

reference. 

revision. 

remnant. 

remiss* 



„XTrr^ ... 





PHONIC SPELLING. 


145 


remit. 


^ 


stofy. 


A 


remorseful. 


X 


stencil. 


J2£-m 


roamer. 


_3l. 


sternly. 


...\>._ 


removal. 


y 


stormy. 


JL. 


renew. 


_^...._ 


stroller. 


....!>...„ 


renewal. 


~'7~ 


instruct. 


„-W 


ruin, 
larceny. 


-co- 


instrument, 
enshrine. 




laughingly. 


-; cST" 


enthrone. 


...1™ 


lifeless. 


k- 


sportsmen. 


U_ 


alive. 


c 


spousal. 


-H 


lungs. 


.!.._ 


spoiled. 


/ 


losses. 


_JL 


shameful. 


Jfex-. 


allowance. 


m 


shoulder. 


_J?_ 


lovingly. 


„x... 


soldier. 


JL- 


lunacy. 


nr 


skillful. 


3*. 


steady. 


_.->!7..« 


scarcely. 


„?fe^ 


starving. 


—^"' 


scuffle. 


_£__ 


stair railing. 


-v*\ 


scornful 


V 



146 



MANUAL. OP BRACHYGRAPHY. 



scrivener. 

screed. 

scroll. 

tea. 

tale. 

toll, 

tall. 

Todd. 

deal. 

dull. 

date. 

debt. 

Pay- 
pour, 
poor, 
pair, 
beer, 
bowl, 
key. 



..„£- 

L 

...L 

i 

J 

T 

£ 

JL 

..L_ 

A._ 

_v~ 

v_ 
1.. 



goal, 
cool. 

kill. 

can. 

coin. 

cone. 

corn. 

gird. 

gold. 

cane. 

chore. 

chain. 

jail. 

jewel. 

than. 



though. 



thrall, 
thrill, 
thrower. 



...m. 



~l 








PHONIC 


SPELLING. 


147 


heap. 


..X 


repair. 


t> 


eke. 





tame. 


4, 


lager. 


-*-i 


tamer. 


Jc 


acre. 


:==l 


tamed. 


S 


ark. 


-7^ 


dimple. 


1 


hawk. 


1— 


extensive. 


.1 


hopper. 


A.. 


defensive. 


_u 


orb. 


JL 


lustrous. 


-X 


lapper. 


i 


Lester. 


-Si. 


loper. 


~V 


actual. 


-=t* 


warp. 


V 


effectual. 


—■sn 


taken. 


_u. 


contradict. 


L 


dicker. 


JW 


counteract. 


...?•» 


decay. 

dock. 

disport. 


...u 

L 

> 


offer, 
over, 
maneuver. 


v 

4 


report. 


jl. 


moneywort. 


M 


repaid. 


_1. 


devoid. 


_i 


ape. 


"^ 


hope. 


-s 



148 



MANUAL OF BKACHYGRAPHY. 



abandon. 


T 


admit. 


abed. 


^.A.—. 


advantage. 


able. 


:i. 


adverse. 


abolish. 


advise. 


abrupt. 


-v 


advocate. 


absolutely. 


-V j 


affairs. 


accept. 


_^_ 


afflict. 


accident. 


~T~ 


afford. 


account. 


t 


aggregate. 


accommodate, 
accomplish. 


agitate, 
agreement 


accumulate. 


—jr-* 


alchemist* 


acknowledge. 


.i 


affectual. 


accurate. 


'*sr i 


alike. 


action. 


~-^~ J 


allegation. 


actual. 


....^.....4 

A, 


allege. 


addition. 


allusion. 


adjourn. 


jL* 


almighty. 


adjust. 


-Z- 


alphabet. 



7 

"T" 



..^... 






._,- 



_£. 



T 



PHONIC SPELLING. 



149 



alternate, 
altitude, 
amateur, 
amazement. 

amazingly. 

ambiguity. 

ambuscade. 

ambitious. 

ambition. 

amend. 

amendment. 

American. 

amicable. 

amplification. 

amplify. 

amusement. 

analogous. 

analogy. 

analysis. 



"Y 



j=^ 



...•5.™ 



"T" 



analyze. 


*"C» **■ 


ancestor. 


~^L 


ancestral. 


"~^G* 


anciently. 


-.*?. . 


anecdote. 


—^ 


angel. 


n— 


animal. 


-T=3 "v 


announcement. 


.4, — 


annual. 


-^ 


another. 


u 


answer. 


~^=\ — 


antagonism. 




antecedent. 


■vy- 


antidote. 


"T"~~ 


anterior. 






-A 


anticipate. 


~T~ 


antique. 




anvil. 






*■«*■ 


anxiety. 





14 



150 



MANUAL OF BRACHYGRAPHY. 



apartment. \ 

apparatus. 

apiece. 

apologize. --£'- 

apostle. £L 

apparent. ...\l..„ 

appeal. 

appear. V. 

appellant. \jr.„ 

apply. 

appoint. < 

appraise. S?..... 

appreciable. v\) 

appreciate. " ^ 

apprehend. ; V* 

apprehensive. . V* 

apprise. ....... 

approbation . . Nv 

approach. ...„u:. 



appropriate J 

approve. 

approximate. 

arbitrary. 

arbitration. 

._ 

ardent. 

argue. 

aright. 

2 

arithmetic. ..Z^rz... 

arraign. ? ^ 

arrange. ' ,..<^i..... 
arrest. 

arrival. * 

article. 

artificial. 

assent. _^ 

ascertain. 

ascribe. ^ 



PHONfC SPELLING. 



151 



asperity. 


- - 


assail . 


v 


assemblage . 


^_ 


assembled. 


JS_ 


assertion. 


T — 


assess. 


•-^p- 


assessment. 






— zr> 


assets. 


"1 


assignor. 


3 " 


assign. 


c 


assignee. 




assimilate. 






-**>* 


assist. 






— *, 


associate. 


....fc. 


assort. 


i 


assume. 


9 


assurance. 


•'"^ — 


astonish. 


X 


astray. 


\_ 


astringent. 


i 



Atlantic. 


11 


astronomy. 


atmosphere. 




atonement. 




attachment, 
attempt. 


*T""~ 


attend. 


J........ 


adopt. 


.....L. 


administer. 


~"=v 


advance. 


t^st"" 


adverse, 
affidavit. 




attention. 


...„_..... 


attentive. 


-=cj 


attorney, 
attract. 


"""S 


attraction. 


.-.yjfl>...._ 


auction. 


Co 


audible. 


V 



152 



MANUAL OF BRACHYGRAPHY. 



auditor. 

augment. 

auspicious. 

author. 

authority. 

authorize. 

average. 

avenue, 
averment. 

avocation. 

awake. 

axil. 

baby. 

back. 

bacon. 

bad. 

bail. 

baker. 

balance. 



J 
U 

j 

tyjf 



T 



"*?*•• 



A.. 



bald. 


> 


balloon. 


¥. 


baluster. 


v* 


band, 
bandage, 
banish, 
bank. 


7 


banker, 
bankrupt. 


C3\ 


bar. 


V 


barrow. 


Vr. 


barbarian, 
bare. 


v 

£ 


bargain, 
bark. 




barrel. 


V, 


battle, 
bearer. 


i 


beautiful. 





PHONIC SPELLING. 



153 



bedstead. 

befall. 

befoul. 



beggar. 



beguile. 



bond. 

bold. 

below. 

bench. 

benefactor. 

beneficial. 

benevolent. 

beside. 

betray. 

bestow. 

beware. 

bitter. 

bill. 

bird. 



1. 
x 

•» 

A. 



> 



v 

t — >j... f 



birth. 

bite. 

black. 

blemish. 

block. 

blossom. 

blush. 

bluster. 

board. 

boarder. 

boast. 

boatmen. 

boatswain. 

boisterous. 

boldness. 

book-keeper. 

borrow. 

boundary. 

bracelet. 



^> 



..^>... 



v 

...V... 

I... 

\ 

•* 



x 



14* 



154 



MANUAL OF BRACHYGRAPHY. 



brandy. 


••«*cs"" 


cage. 


,.^.- 


break. 


tors- 


cullender. 


-~3t~ 


bribe. 


\ 


call. 


—l 


breath. 


*<. 


calm. 


—y\- 


bridge. 


JL 


calmly. 


TV 


brisk. 


v *~ 


Cameron. 


■~3n 


broadcast. 


■^ 


camphor. 


,_-__ 


brook. 


-v=- 


canal. 


■sscr* 


brother. 


xL„ 


candle. 


» • 


buckle. 


Vo. 


canister. 


"*'«C^"" 


built. 


V 


capable. 


^ 


bunch. 


4_ 


capital. 


" !as M* 


bundle, 
bungle. 




carbine, 
carried. 


'""T 


burden. 


^ 


care. 


...rrp... 


burial. 


...V 


queer. 


-■=£. 


burn. 


A, 


carouse. 


._*- 


bush, 
butcher. 


-> 


carpet, 
carriage. 





PHONIC SPELLING. 



cash. 


"2»r™ 


cash-book. 


'"^C. 


casual. 


-=r" 


catalogue. 


-er- 


catch. 


~y~ 


cattle. 


r==r~ 


caution. 


— 1 


ceiling. 


V. 

<r - 


censure. 


...<!r^..„ 


central. 


...«?..._ 


ceremony. 


.!„ 


certificate. 


Jet 


certify. 


£•» 


change. 


L 


change. 


../, 


chair. 


„../... 


chamber. 


...A 


champion. 


-•••A- 


channel. 


-■&■ 



charge. 

charity. 

charm. 

charter. 

child. 

children. 

christen. 

chronic. 

chronological. 

church. 

churn. 

cigar. 

circle. 

circumscribe. 

circumstance. 

citizen. 

civilization. 

claimant. 

clash. 



155 

i 

t 

_ 

y, 

.A 

f- 



156 



MANUAL OF BRACHYGRAPHY. 



client. 


e 


compare. 


..*>... 


climate. 


i 


compel. 


...JL 


clock. 


•« — 


complain. 


..X... 


coin. 


~T 


commit. 


3 

_> 


collapse, 
collusion. 


T 


complete, 
complex. 


_ 


color. 


JZ3L. 


comply. 


comfort. 


jSL 


compass. 


3 


combination. 


jb- 


comprehensive. 


...1?. 


common. 


D 


conceal. 


<L. 


commend. 


3 


conceit. 


d- 


commission. 


5 


conceive. 


C 


commissioner. 


-> 


concession. 


C~ 


commotion. 


...a., 


conceal. 


<l 


complicate. 


-4 


confide. 


.£.. 


common. 


2> 

* 


confident. 


i. 


commonly. 


J 


conform. 


.s. 


comparison. 


1> 

J 


conjecture. 


,.£ 


r 

comparative. 


1L 

! 


conscious. 


»•••• 



PHONIC SPELLING. 



157 



conscience. 


-6 


correspond. 


3... 


consent. 


C 


corporate. 


!i\ 


consignor. 


A 


council. 


~f~ 


constantly. 


JL 


counter. 


...fe,..- 


contend. 


£, 


counterfeit. 


-i^-. 


contingent. 


.L 


cover. 


Z3u 


contradiction. 


i 


coyness. 


IL 


contraction. 


c^= 


crack. 


M........M 


continue. 


Q 




* ^ 


contract. 


.. C T, 


creature. 


•e-% 


contrast. 


c>. 


credible. 


^- 


contribute. 


■i\ 


credulous. 


.jf^?... 


controvert. 


...1 


criminal. 


."2r.. 


convince. 


G 


criterion. 


i, 


copper. 


.1} 


crystal. 


-«v. 


cord. 


—A 


cultivate. 


Z3b-_ 


c orner. 


Jb. 


cumulation. 


""3'~ 


correct. 


..-.. 


curtain. 


-=?- 


corroboration. 


13 


customary. 


=o 



158 



MANUAL OF BEACHYGRAPHY. 



dagger. 


4* 


damage. 


V 


damper. 


4,. 


danger. 


J- 


dash. 


_|... 


daily. 


JL 


dealer. 


!_ 


debar. 


-V 


debate. 


_L 


decay. 


JL 

1 


deceit. 


J- 


December. 


ki 


deceptive. 


:I 


deserve. 


JL 


declaim. 


JL 


declare. 


.U 


decompose. 


1. 


decade. 


±L 


deduce. 


i 



deadly. 


.± 


dairy. 


JL 


deface. 


d, 


defalcation. 


L 

'. 


defection. 


.u 


deficient. 


i 


deflection. 


....L 


defraud. 


5 


deject. 


£ 


delay. 


_ L 


delegate". 


U- 


deliberate. 


1; 


delight. 


jL 


deliver. 


..k 


delude. 


...L... 


demeanor. 


±l 


demerit. 


Ir 


denial. 


2- 


denote. 


1 





PHONIC 


SPELLING. 


159 


department. 


4 


different. 


_ L 


departure. 


4 


difficulty. 


...zz.... 


deposit. 


4 


digression. 


U 


derange. 


► 


diligence. 


J..... 


derive. 


diminish. 


u 


describe. 


1 


dimple. 


A. 


description. 


.A. 


dinner. 


u 


desertion. 


A. 


direct. 


w 


desperate. 


4... 


director. 


!o. 


destination. 


_L 


dirt. 


L 


destroy. 


I 


deceitful. 


k 


detail. 


k 


disagree. 


j-T 


determine. 


i 


despair. 


K 


develop. 


...J 


disaster. 


-A- 


device. 




disability. 


4, 


devoid. 


discard. 


~u~ 


devote. 


-A 


discern. 


±. 


devour. 


4... 


discolor. 


M... 


dextrous. 


-L 


discontinue. 


i 



160 



MANUAL OF BRACHYGRAPHY. 



discourage. — .<fc^ 

discover. -Jfcs* 

discredit. '. 

discrepancy. ..JL"^ 

«~ L 

disgrace. .£%* 

dish. } 

dishonesty. y 

disinclined. k^ 

disinterested. ^* 

dishonor. v. 

dislike. ...7~Z„ 

dismal. Jj 

disoblige. Sj, 

disorder. "S 

display. J 

disregard. .„..:). 

dissemble. 1^ 

disseminate. ^Jk_ 



dissolve. 


1 


dissuade. 


L 


distance. 


1 


distaste. 


•f 


distrain. 


1... 


distinguish. 


J- 


distress. 


jl 


disturb. 


...1 


disturbance. 


^>- 


divest. 


JL. 


divide. 


4 

i 


divine. 


I 


dollar. 


L 


doom, 
door. 


L 


dormer. 




double. 


r~xr 


dovetail. 


\- 


downfall. 


4- 



PHONIC SPELLING. 



161 



downright, 
drab, 
draft, 
drag. 

dragon, 
drain. 

drainage. 

draw. 

drawer. 

dredge. 

drench. 

drill. 

drip. 

drive. 

driver. 

drove. 

duplicate, 
dust. 

dwarf. 



Ir 



^ 






J... 

i 

i 



eagle. 


**T7 


earthly. 


...v± 


easily. 


-tfL 


eclipse. 


-3 


economize. 


.i 


Eden. 


:..!.. 


edge. 


T" 


edify. 


—T- 


effect. 


..^r. 


effective. 


...nJHJK. 


effectual. 


..-•^X 


efficient. 


_.=*£. 


effulgent, 
either. 


••4- 


elapse. 


_I. 


eviction. 


T^ 


elective. 


-.33 


elegant. 


J3-= 



15 



162 



MANUAL OP BRACHYGRAPHY. 



element. >v-» 

elementary. >^ 

elephant. ^ 

elevate. .„>=-_ 

elicit. ^ 

election. ^j£. 

eloquence. ^sEZ 

emanate. „f>r . 
embarrassment. _/2!Z 

embellish. , ry, 

emblem. ...„r>o 

embarrass, . v^V 

embryo. yi , , 

emigrate. .z^cn 

emolument. j 

emotional. ^ 

empanel. '■■ * i TV 

emperor. ,^<y 



employ. 

empower. 

empty. 

enact. 

encamp, 

encounter. 

enclose. 

encourage. 

encumber. 

endeavor. 

endorse. 

endure. 

energy. 

engage. 

engineer. 

English. 

engrave. 

enlarge. 

enlighten. 



2X. 












PHONIC SPELLING. 



entail. 

enormous. 

enslave. 

entertain. 

entire. 

entitle. 

entrap. 

entrance. 

entreat. 

entry. 

enumerate. 

envelope. 

epithet. 

equal. 

equity. 

erection. 

eruption. 

escape. 

esquire. 






-V 






=1" 

L. 



estate. 

esteem. 

estimate. 

estoppel. 

eternal. 

eternity. 

European, 
evict. 

event. 

eventually. 

evidence. 

excavate. 

exceed. 

excel, 
exert. 

excellence, 
except. 

excessive, 
exchange. 



163 

r 



T 



A... 
' y 



164 



MANUAL OF BRACHYGRAPHY. 



executive. 


v— r. 


fable. 


^ 


exemplary. 


*& 


fabric. 


V= 


exhaust. 


V 


fabricate. 


V: 


exhibit. 


*V 


facility. 


<-% 


exist. 


w 


faculty. 


rz=p 


expand. 


T 


fairly, 
faithful. 


j£_ 


experience. 


T 

*~ - 


fallacy. 


^_ 


explain. 


..-:.. 


falsity. 


£„. 


explode. 


J..- 


falsify. 


f 


exploit. 


1 


familiar. 


s 


express. 


Al, 


fancy. 


ryr— 


expression. 


^ 


farewell. 




extent. 


X- 


farmer. 


IS? 


extension. 


2_ 


fascinate. 


-GO- 


extinguish. 


iL 


fatal. 


3*:. 


extravagant, 
extricate. 


„- 


father, 
fatigue. 


L... 


extreme. 


w^ 


fearful. 


<^>-> 



PHONIC SPELLING. 



165 



visitor. 

February. 

federal. 

feeble. 

feelingly. 

ferment. 

fertile. 

fickle. 

figure. 

fixture. 

flagrant. 

flange. 

flask. 

flexible. 

fluster. 

fudge. 

foolish. 

foresight. 

forever. 









T 



-r- 

V 



forgery, 
forked. 



A 



formal. 


JV. 


fortune. 


: * 


forward. 


JL 


foundation. 


~* ----- 




m 


fractional. 


^ 


franchise. 


^ 


fraudulent. 


% 


freckle. 


X=Ej 


French. 


*f~ 


frequent. 


ST* 


frightful. 


'■i 


frugal. 


■?j~£ 


fugitive, 
function. 


A... 


furniture. 


JU 


future. 


T- 


fury. 





TT 



15* 



166 



MANUAL OF BRACHYGRAPHY. 



gallop. 


T=^=~ 


gambler. 


t 


gauge, 
genius. 


~"7- 
L 

i 


Jeremy. 


L. 


girl. 


p2>. 


glaring. 


&L. 


glass. 


"•c^"" 


gnash. 


••<U5>"** 


gospel. 


.H ; 


govern. 


n. 


graceful. 


&..... 


gradual. 


"j^"" 


gratify. 


■*T" 


gratification. 


2«t^S 


graveyard. 


tr\_i 


gravel. 


KT-* 


grocery. 


A... 


guaranty. 


^ 



habit. 


A 


habitation. 


""T5T 


happen. 


C3^- 


harbor. 


T 


harmless. 


~y£~ 


harvest. 


-jEcr 


heaven. 


ite- 


help. 


-V- 


herewith. 


A. 


hindermost. 


■) 


history. 


i _ 


hobble. 




honorable. 


.1 


horizon. 


±_ 


hope. 


f 


hospital. 


±, 


human. 


!£?_• 


humbug. 


3L, 



hydrogen. 



i 



PHONIC SPELLING. 



167 



idea. 


L 


identity. 


L 


ignite. 


—\ 


ignore. 


3: 


illegal. 


JS^> 


illegitimate. 


¥ 


illusion. 


1) 


illusive. 


■* 


illustrious. 


•% 


imitate. 


D.. 


immaterial. 


^O 


immediately. 


*-N 


impartial. 


3L 


impression. 


r^> 


impending. 


"*^. 


impenetrable. 


dfc 


imperfect. 


n 


implement. 


•v, 


implicit. 


Ol 



important. , 

impossible. 

impracticable. *— — 

impressive. S..„ 

improbable. — ^r 

improper. ™^- 

improvement. 

inappropriate, 

incapacity. -Z^._ 

incline. _. L 

inclosure. J!^L_ 

incommode. S.. ; 

incompetent. J~— 

indefinite. _ 

independent. I*L_ 

indication. ^^^ 

indirect. *■* 
indict, 
individual. 



•i 



168 



MANUAL OF BRACHYGRAPHY. 



indulgent, 
industry, 
inferior, 
ingenious. 

inhabitant. 

inhuman. 

injury. 

innocent. 

inquest. 

inquiry. 

inscribe, 

install. 

instigation. 

instruct. 

intelligent. 

intently. 

interfere. 

intricate. 

isolate. 



Jl 



~L 



C^J" 



JL- 






JS 



jealous. 


L 


jocular. 


k. 


join. 


iL 


joke. 


jL_ 


generally. 


Ml. 


journey. 


JU..... 


judge. 


../..... 


judicial. 


A... 


judiciary. 


u 


judicious. 


L 


jump. 


I 


jurisdiction, 
justification. 


i 


justify. 


4- 


j^y- 


* 


juryman. 


y- 



PHONIC SPELLING. 



169 



keep. 


Zl. 


keen. 


-» 


kennel. 


-.wy. 


kind. 


~X 


knife. 


c 


knock. 


c 


knowledge. 


A 



label, 
labor. 

landlady. 

landlord. 

lank. 

lapse. 

lake. 

laundry. 

lavish. 

lazy. 



.... c ..... 
~ ,, 

T 



x: 



leakage, 
leap, 
lecture, 
legal. 

legible. 

legitimate. 

leisure. 

liable. 

liberally. 

liberty. 

like. 

liquid. 

liquor. 

listen. 

literary. 

local. 

lock. 

logic. 

luxuriance. 



_ 

I 






170 



MANUAL OF BRACHTGRAPHY. 



machine. 

machinery. 

magnify. 

magnitude. 

make. 

maneuvre. 

mankind. 

margin. 

marble. 

mark. 

marriage. 

material. 

mattress. 

mature. 

maturity. 

meditate, 
member, 
malicious, 
malignant. 



...X._ 
_. 

~ 7 f r 

„.....t... 
-^ 

£T 

^_ 



mcasuic. 


.....^.^ 


mechanic. 


jb- 


medical. 


^ 


memory. 


*> 


message. 


~T' 


metallic. 




method. 


.<-:. 


million. 


^ 


minister. 


"H 


minute. 


~ t 


minutely. 


..,1... 


mirror. 


/^> 


miracle. 


Xa. 


misconduct. 


Jfe 


misdemeanor. 


3± 


miserable. 


2% 


mistake. 


^-_ 


mistrust. 


•—*> 


mitigate. 


— 



PHONIC SPELLING. 



171 



modify. 

molest. 

money. 

monopoly. 

moral. 

morpheus. 

mortify. 

mother. 

multitude. 

multiply. 

murder. 

mystery. 

moderation. 

moist. 

moulder. 

Monday. 



A. 

L 

•~~ 

z. 

Jl 

i_ 

■■¥■ 

...f.. 






name. 


M£ 


narrative. 




narrowly. 


"•":?" 


nasty. 


■"T 


native. 


~jac_ 


nearly. 


_■£. 


necessity. 


:£. 


needful. 


-^ 


naked. 


Jur- 


negligence. 


......y. 


nervous. 


-^.. 


nimble. 


v_ 


noble. 




nominal. 


normal. 


X 


notorious. 


-k.. 


noxious. 


£ 


nullity. 


■M-~~^». 


number. 



172 



MANUAL OP BRACHYGRAPHY. 



oath. 


.1/ 


oppression. 


A.. 


obedience. 


-V 


opposition. 


-k 


obligation. 


li 


orchestra. 


ir: 


obliterate. 


c 


order. . 


i 


obnoxious. 


1 


ordinance. 


v^ 


obstacle. 


c 


ordinary. 


(. 


obvious. 


1 


organ. 


.L 


occasion. 


u^> 


origin. 


i.._ 


occurrence. 


'b» 


ornament. 


u 


offensive. 


u-e 


otherwise. 


y- 


officer. 


1 


outcrop. 


V 


official. 


<^ 


outcry. 


omission* 


.1. 


outlaw. 


T 


onward, 
operate, 
operation. 


outrageous. 

outside. 

overcharge. 


r 

•r 


operator. 


.A. 


overdraw. 


.. v 


opinion. 


^ 


overrule. 


...«^L..« 


opponent. 


*~is) 


overwhelm. 


^ 





PHONIC 


SPELLING. 


173 


Pacific. 


w 


permanent. 


\~ 


pale* 


A,, 


permission. 


A&. 


pamphlet. 


-N 


pernicious. 


.\^£. 


paper, 
parlor. 


-V 

■V- 


persist, 
person. 


V 

r- 


parcel. 


-•> -- 


persuade. 


_W 


parol. 


...v. 


pertinent. 


4i 


partake. 


.x._. 


pervade. 


...v.. 


participate. 


~ v 


peruse. 


v 


particle. 


t3- 


petition. 


X 


partnership. 




phenomena. 


.[..._ 


pattern. 


philosopher. 


_1_ 


peculiar. 


—■^r~ 


photograph. 


,..fe._ 


pension. 


..r-^?._ 


physician. 


— 


people. 


i: 


physiology. 




perfect. 


picture. 


_W 


perform. 


_.V 


pinch. 


2~7 


perish. 


V . 


pistol. 


v" 

-Or— 


perjury. 


If 


place. 

) 


JU_ 



174 



MANUAL OF BRACHYGKAPHY. 



platform, 
plausible. 


.1.... 


pleasant. • 


v_ 


pleasure. 


_\i,. 


pledge. 


/ 


pluck. 


jU, 


plural. 


~t~ 


pneumonia. 


t 


poison. 


police. 


\ 


polish. 


i 


polite. 


political. 




pompous. 


i- 


pointer. 


.V, 


power. 


-V- 


portable. 


\ 


portion. 


k_ 


positive. 


\ 



possession. 


r w. 


pound. 




power. 


A- 


practical. 


- r - 


preacher. 


r 


precarious. 


r 


president. 


V 


precious. 


yr» 


precise. 


JL 


predict. 


.1, 


predicament. 


2U 


prefer. 


-.v 


preference. 


,V-^, 


prejudice. 


JL_ 


preliminary. 


*V 


preparation. 


x 


present. 


V- 


presume. 


^ 


pretend. 


3 





PHONIC 


SPELLING. 


175 


pretty. 


JL 


quail.* 


-HV 


prevail. 


2?S?._ 


qualify. 


~5 


prevalent. 


Jst^ 


quantity. 


n; 


prevent. 


V 


quarrel. 


-^ 


previous. 


queer. 


-< 


principle. 


1 


quiet, 
quorum. 


— i 


private. 


^3tl 


process. 


V 






profess. 


A, 




._, 


profit. 


i 


racer. 


...a..... 


profound. 


4_ 


racket. 






c~ 


progress. 


yrrz... 


radical. 


:l. 


probably. 


\ 


ragged. 


-~ — — 


projection. 


,jLd. 


railroad. 


...c>q._ 


prolong. 


-*- 


rainbow. 


- c ^\- 


pronounce. 


Jfc. 


range. 


...^.... 


proper. 

proportion. 

prosecution, 
protect. 




rapid, 
ratify, 
ravine. 


"T" 

^— ' 3 



176 


MANUAL OF BRACHYGRAPHY. 




reach. 


7 


reduce. 


4 


reaction. 


__,_, 


reference. 


^ 


reality. 


<^ 


reflection. 


.cz<= 


realize. 


CV» 


reformed. 


^ 


reappear. 


X 


refuse. 


x 


reason. 


C*-' 


regard. 


&>. 


rebel. 


a. 


reject. 


L 


rebound. 


X 


rational. 


.95?.. 


rebuild. 


% 


relevant. 


.£^r. 


rebutting. 


r- 


rely. 


? 


receipt. 


■£1 


reliance. 


? 


receive. 


r^ 


relieve. 


<X> 


recently. 


c-*~ 


religion. 


••?-- 


reception. 


f& 


relinquish. 


C^7 


recline. 


^> 


remedy. 


£^..; 


recognize. 


rx 


remember. 


<L 


recurred. 


ts.,. 


remission. 


<^> 


recover. 


..O) 


remorseful. 


k 


redeem. 


\ 


renounce. 


.£-' 





PHONIC 


SPELLING. 


repeal. 


V 


Sabbath. 


repeat. 


\. 


sack. 


replace. 


.V 
1 


sacred. 


reply. 


safety. 


report. 


A. 


safeguard 


represent. 


X 


salary. 


reproach. 


^ 


sash. 


request. 


sz. 


scalawag. 


reputation. 




scales. 


roundly. 


scalp. 


require. 


r-\ 


scandal. 


resemble. 


J*v 


scarce. 


resist. 


C* 


scholar. 


resolutely. 


•%- 


scribble. 


resolve. 


<*• 


secret. 


resolution. 


.^ 


secure. 


respect. 


-^ 


select. 


result. 


<r 


sentence. 


revert. 


JL 


servant. 



177 

*h-C£„. 

^- 

9* 

r 



16* 



178 



MANUAL OP BRACHYGRAPHY. 



severe. 


e>» 


sister. 


«^ 


shabby. 


V 


skillful, 
sleek. 


X 


shackle. 


£=3 r— 


sledge. 


shape. 


!..._ 


smack. 


*'rS"" 


share. 


>- 


smuggle. 


.1... 


shaggy. 


y— " 


smother. 


1/..... 


shatter. 


>^~" 


smuggling. 


J..... 


sheep. 


A... 


snag. 


.. <c/ ... 


shelter. 


_V>__ 


snake. 


JL/., 


shepherd. 


.1... 


snap. 


" e^ 


sheriff. 


JL._ 


snarl. 


t?" 


shoulder. 


_«L. 


sojourn. 


...cL 


shuffle. 


./.....-. 


solicit. 


f - 


shrub. 


A... 


solitary. 


£ 


senior. 


e_A 


solution. 


^>.. 


silver. 


V: 


softest. 


c 


similar. 


ra 


sovereign. 


S*. 


simplify. 


IL 


Spanish. 




sinister. 




special. 





PHONIC 


SPELLING. 


179 


speckled. 


!~? .... 


strike. 


J- 


sphere, 
sphinx. 




stoop, 
subdue. 


X" 

V 


speak. 




subject. 


splendid. 


j£Z mmmm 


sublime. 


-V 


sponge. 


...p.. 


submerge. 


H- 


squabble. 


i. 


submit. 


L.. 


squeak. 


s — 


submissive. 


_W. 


stable. 


.....1. 


subpoena. 


«i^ 


stage. 


_2_ 


subscribe. 


X 


stagnate. 


•y— 


subscription. 


...I... 


stool. 


"7" 


scrub. 


A... 


state. 


L. 


subsist. 


.....v. 


statement. 


....L. 


subside. 


4... 


stop. 


A. 


subtract. 


Jt=. 


sterling. 


-^ 


success. 


..a_jQL 


stitch. 


7 


successful. 


..^. 


stretch. 


L 


sufferance , 


Jfcl 


streak. 


^ 


sufficient. 


«^3 



180 



MANUAL OF BRACHYQRAPHT. 



sugar. 


r «=? 


suggest. 


.../... 


superb. 


i 


superintend. 


i 


superior. 


supersede. 


"T 


supper. 


V 


supreme. 


-K 


surplus. 


s, 


surrender. 


....4. 


survey. 


L. 


surround. 


<L- 


suspect. 


...L. 


suspicion. 


...1. 


suspend. 


JL 


sustain. 


X- 


sweep. 


\ 


switch. 


; 


syllable. 


3.. 



table. 


■ <c- 


tacitly. 


h~ 


tail. 


, L 


tailor. 


,....L 


talent. 


u- 


tapestry. 


-V 


tardy. 


V 


target. 


,.:.t 


tariff. 


I>- 


taste. 


L 


tavern. 


<c 


teacher. 


4„: 


taught; 


i 


teamster. 


_c 


technical. 


;.% 


telegraph. 


Ja 


telescope. 


A- 


temerity. 


.1. 


temper. 


jk 



PHONIC SPELLING. 



181 



temple. 

temporary. 

tenant. 

tender. 

tenement. 

tenor. 

term. 

terrible. 

territory. 

testament. 

testamentary. 

texture. 

theory. 

thirst. 

threaten. 

thrift. 

thrill. 

thrive. 

throb. 



...tv... 
...U 

4 

k 

J-- 

..% 

±... 

\ 

k 

J*. 
U. 






thunder. 


...y^.. 


title. 


1 


tie. 


{ 


toast. 


J 


to-morrow. 


V 


tooth. 


k 


topple. 


x 


touch. 


:..).... 


towards. 


A... 


township. 


t 


tradition. 


..ii 


transfer. 


"s^/- 


transform, 
transport, 
trap. 


_ 


trash. 


™xzr-< 


traverse. 


-\p- 


treacherous. 


sL. 


treasure. 


.....V*... 



182 



MANUAL OF BRACHYGRAPHY. 



ulcer. 

ultimately. 

umbrella. 

umpire. 

unbounded. 

uncommon. 

unction. 

understood. 

undertake. 

undress. 

unite. 

universal. 

urgent. 

upward. 

usage. 

usually. 

utmost. 

utter. 



< 

JU 

4 

...A.. 

■■■■)■■■ 

A- 
-/• 



vacant. 

vacate. 

vastly. 

value. 

vanquish. 

vapor. 

various. 

variety. 



vegetable. 



veneer. 

venerable. 

vendue. 



wages. 

wagon. 

wake. 

week. 

warble. 



A»u 



■*<;•"" 

"or* 

...I.. 






X. 



\ 



PHONIC SPELLING. 183 

warranty. „^j... 



Washington. -3 

7 

watch. 

whereof. -*£~ 

wealth. w^ 

weather. -^ 

whip. -...;.. 

whisper. ...hL 



Yankee. ^y 

I 
yon. _ 

yellow. .jss*. 

yester. ..^v.. 



zealous. 



184 MANUAL OF BRACHYGRAPHY. 



PHRASE WRITING. 



The speed and ease of phonic writing is greatly increased 
by a judicious use of Phrase Writing — that is, writing several 
words without lifting the pen from the paper. The number 
of words used by the masses in common colloquial English is 
comparatively small, and consists mainly of simple Saxon, the 
number of derivative words being extremely limited. It is 
these simple Saxon words, some of which occur in every sen- 
tence spoken, that are joined together in short phrases. 

In the •following list a few sign- words occur written sep- 
arately, and afterwards the same words occur again joined in 
phrases. 

No rules can be laid down for phrase writing. Experience 
and the stenographer's own good sense will indicate to him 
when words should be joined or separated. 



PHRASE WRITING. 



185 



to be. 

above. 

according. 

account. 

after. 

again. 



against. 



and. 

are.— her. 

as. 

as not, 

at. 

at all. 

be. 

because. 

before. 

been. 



but. 
by. 



1^ 



~G — 

•V— - 

J,™ 

r a. 



.v. 



X. 



began* 

could. 

come. 

came. 

common. 

did. 

did not. 

different. 

difficult-y. 

do. 

done. 

do not. 

down. 

during. 

each. 

which. 

much. 

either. 

entire. 






V 
i 



J.. 



j...... 

-i 

-A 

j 



17 



186 



MANUAL OP BKACHTGRAPHY. 



entirely. 


-JL_ 


himself. 


<^ 


even. 


T 


is as. 


o 


several. 


_, e^ f 


as is. 


J&-. 


ever. 


w Vf; M 


out of. 


Hr 


very. 


.-JU 


of.— off. 


I 


from. 


_.y— 


it. 


*■— 


together. 


^.-rnr.. 


if it. 


J~;.„ 


generally. 


JfcL 


is a. 


c 


give. 


— 


as a. 


....£.... 


had. 




of it. 
have it. 


c 


had not. 








"■"^ 






until. 


.../:.... 


if a. 


c_- 


is the. 


<* 


of a. 


c 


as the. 


_..v...... 


have a. 


■JL~. 


will. 


\ 


half a. 


*~cl*""" 


will not. 


L- 


half the. 
of the. 




have been. 


.5w^ 




have done. 


J...... 


have the. 


*..*:.-, 


him. 


>v 


if the. 


.O" 





PHRASE 


WRITING. 


187 


in. 


.^: 


other/ 


-J- 


in order. 


<. 


our own. 


~*=— 


is. 


o 


particular. 


^~ 


is it. 


*Z: mim 


shall. 


~y — 


has it. 


„.A_7..~, 


should. 


..../...„ 


is not. 


f 


somewhat. 


J 


it is. 


-_o 


sometime. 


._!._ 


it will. 


_3 


subject. 


A_ 


it will not. 


— ■' 


subjection. 


JL. 


immediately. 


^-v 


thousand. 


...^ 


about. 


-\- 


think. 
i 


^... 


doubt. 


• H 


that. 


/ 


put. 


"V 


the. 


m 


up. 


\ , 


them. 


..^ 


behalf. 


„v 


there. 


U... 


often. 


h 


themselves. 


L^L 


opportunity. 


_L 


this. 


a 


operate. 


A..„ 


these. 


a 


through. 


^t 


thing. 


~_^ 



188 



MANUAL OF BRACHYGRAPHY. 



thought. 





year. 


N* 


thus. 


_Sl. 


yet. 


SJ 


those. 


,. ..fry 


you. 


-^.rO .... 


was. 


^£L 


you. 




we. 


<- 


you'll. — your. 


.X._X 


with that. 


<r~ 


afterward. 


"K 


were. 


„..\.. 


anything. 


—^^ 


were not. 


...\.. 


become. 


...v.. 


are. 


. >" . 


have not. 


u t _ 


are not. 


'"W" 


I'll have. 


c 


we may. 


C~^ 


I'll not. 


( 


we may not. 


*«-> 


notwithstanding. 


Ax 


what. 


1 


nevertheless. 


^-c* 


what have. 


I 


represent — ation . 


■X 


who. — whom. 


"1 


when. 


*~*^, 


who have* 


"V" 


whenever. 





with. 


c 


wherever. 


f , 


within. 


/• 


principle. 





without. 


•/••• 


and. 


v- 





PHRASE 


WRITING. 


18 


and will. 


"■■\;— 


you must have. 


-a- 


and are. 


-_y- 


you must have been-o — 


as I. 


— f~ 


you have been. 


Ie»«£r. 


they are. 


^L 


you may have. 




they will. 


_„A 


you must not. 


■5~~ 


we have. 


-»- 


we think. 


we have seen. 


&-S 


we think you. 


£f_ 


which the. 


...J... 


we think so. 


dL 


which are. 


....</.. 


we think not. 


** 


which will. 


.....L 


we think that. 


si 


with which. 


.....L 


we shall. 


'«•"• 


with each. 


_l_ 


wish. 


<r 


with much. 


-■■■■]- 


we shall have. 


r^ 


you may. 


— jK2%. 


as well as. 


J£a., 


you may be. 


fXTK 


as soon as. 


-e- 


you are. 


~~\- 


but the. — but a. 


_<...>. 


will be. 


JL 


and if. — and in. 


-V-V 


you will be. 


^ 


and a half. 


^•v— 


you must be. 


t " 


and have. 


*"\f— • 



17* 



190 



MANUAL OF BRACHYGRAPHY. 



could not. 
could not have. 

for the. 

for a. 

has been. 

I am* 

I may. 

I may be. 

could have. 

I do. 

I think. 

in. 

I will. 

I wish. 

I shall. 

if I. 

in order that. 

or a. — or the. 

should do. 









A 

/ 

6 
/ 
f 

vv 

1- 



should a. 


-/?. — 


should the. 


■j<* — 


that is. 


/ 


I have no. 


i_ 


I have not. 


\ 


I have no doubt. 


...V- 


I have been. 


l*-^ 


I have done. 


L 


I have said. 


U 


I have known. 


X. 


take. — taken. 


1L 


I have taken. 


JL 


I have seen. 


l^ 


I have just. 


_i_ 


I shall be. 


A... 


I think not. 


^ 


I think you are. 


is* 


I think that. 


¥L 





PHRASE 


WRITING. 


191 


I will be. 


£ 


always. 


/ 


I will have no. 


jL 


on his. 


c 


I am sure. 


jL 


should his. 


^s...... 


I am very. 


V _ 


who has. 




I am very sorry. 


1... 


is not. 




I am sorry. 


1 ' 


is this. 


d* 


I must be. 


1 


is done. 


X- 


I must have. 


L 


it is done. 


X.- 


I understand. 


-V 


it has been. 


f .-.„ 


I understood. 


-V 


has done. 


1 


it is not. 


-x 


as for. 


-*— 


tell us. 


JL 


as far as. 


..&»._ 


think his. 


y 


as soon as. 


: e- 


there is. 


JL 


along — long. 


c 


when his. 


«N_S> 


among. 


X... 


this is the. 


fi- 


as long as. 


■c- 


it is his. 


-JD 


such. 


_£_ 


but his* 


-V- 


such as. 


Z_ 


also. 


i 


such has been. 


Ll 



192 



MANUAL OF BRACHYGRAPHY. 



such is the. -■* — 

there has been. ,-^^C 



nothing has been. 


jizL 


in a. 


^ 


when a. 


rwj 


that a. 


L 


that the. 


/ 


was a. 


i — ' 


was the. 


.'.>. 


was not. 


_c 


was in. 


c< 


was there. 


,;.£/,.'. 


was not there. 


.....<^L 


against* 


_^=*_ 


against a. 


„^v_ 


against the. 


„■=*_ 


and that. 


ff 


and for. 


i 



and generally, 
and do you. 
and have you. 
and where, 
where have, 
and before the. 
all the. 

always the. 
already the. 
when he was. 
it is done, 
he could, 
he would have, 
for he would, 
does he. 
did he. 
nor was the. 
since he. 
he was. 



v. 



Ju.. 



A 



X. 






fei. 

I 

H 



PHRASE WRITING. 



193 



T/ 



he went. 

he could not. 

he will. 

he has nothing. 

he can do nothing. f/- 

as if there. •..?£_, 

when their. Z£.. 

might be. .A 

I might be. ,.\ 

\ 

I might have been....^r^._ 

for there is no. *—..-.- 
for there is nothing.,.^.... 

so there is to be. .£^\... 
I am sure there is. \J....... 

are there. p >/„. 

are not there. ....J...... 

suffer their. 

if we. 

if we were. 



\S 



if we are. 


«*• 


if we will. 


^ 


have we. 


f ■" » 


we have. 


^ 


we will have. 


CN> 


we will not. 


rv~ 


you have. 


^.-V_ 


your. — you are. 


.:.a v 


you will. 


_/..,-. 


you will not. 


^j_ 


your own. 


^.>. 


have you. 


...r„.«, 


if you. 


r 


if you have. 


c 

~4 


by it. 


L 


by which. 


X 


by the way. 


V 


I am certain. 


J 


if he is. 


c* 



194 



MANUAL OF BRACHYGRAPHY. 



in all cases. 

when I am. 

I can. 

I cannot. 

in the meantime. 

when all this. 

in which the. 

there ought not. 

in all such cases. 

give him the. 

do you mean. 

after that. 

doubt not. 

had the. 

great. 

greatly. 

greater. 

great many. 

good many. 



U 

...A.. 



r 



sent it. 


S-r. 


sent the. 


fa... 


at the. 






,_.... 


had not. 


ST-* 


at the time. 






T 


time. 


Ju. 


at that time. 






1 


at such time* 




to be sure. 


'7 




,'V 


to be there. 






V 


I hope. 


~V 


other means. 


-jL 




for that matter. 


i_ 


subject matter. 


5r... 



though you may not ,.A^ 
have those. 



if these, 
what those, 
what these. 









PHRASE WRITING. 



195 



who have, 
what time, 
how. 

how long, 
what is that, 
what does he do. 
when did you. 
when did you say 
who did you say. 
be good enough, 
be kind enough, 
many of them, 
of which were. 



— i- 



~t 

4 



X~ 

-V 

-V 



4— 

of which you were. «^y 

of which they are. £/. 

with which you are. J(. 

with which you werc.Ay 

about it. J^- — -i 
something else. 2& , 



was not so. „.£. 

it is not so. J5 

how long have. -^ 

what do you think.- L^T— 

what do you know.— h- 

how did it. ... *- — 

how do you. • 

he has been. ..1^1..- 

was there anything.^.C^^ 



will there be. 



^A 



196 MANUAL OF BRACHYGRAPHY. 



advantage. 


_i 


large. 


/ 


o 

duty. 


/ 


beauty. 


~"..."V 


difficulty. 


__n. 


peculiar. 


— 


satisfaction. 






■"— 


up. 


_A..„ 


happy. 


-•-\- 


imagine. 


j- 


sometime. 


i 


exclaim. 


a^._ 


exclude. 


*""7~ 


complete. 


j 


extreme. 


>■> 


extremely. 


"S 


magnificent. 


—fT 


accurate. 


~*T 



PHONIC READING EXERCISES. 19? 

PHONIC HEADING EXERCISES. 

If the principles set forth in the foregoing exercises are 
thoroughly understood, the student may proceed with the 
phonic reading and writing exercises : if not, it will be better 
to turn back and take a hasty review of the principles from 
the beginning. 

When the student feels prepared to advance, the following 
method of study is recommended : 

The first Phonic Reading Exercise should be read over care- 
fully, with the aid of the translation, commencing on page 201. 
Particular attention should be given to the foot-notes at the 
bottom of each page of the translation. 

When the exercise can be read easily and without hesita- 
tion, it should be copied with pen and ink, care being taken 
to make the copy as perfect as possible. The book should 
then be laid aside, and the student should use his own writing 
to copy from. The exercise should be written over again and 
again, until the outline or form of each word has become so 
familiar that the whole can be written from dictation at the 
rate of from seventy-five to one hundred words per minute, 
when a second exercise may be taken up. 

When the same course of practice has been pursued with 
all the Phonic Reading Exercises, the student should com- 
mence with the first exercise again, and not leave it until he 
can write it at the rate of from one hundred to one hundred 
and twenty-five words per minute, and the same method of 
study pursued with the remaining exercises. 

If this method of study is faithfully observed, the student 
will acquire sufficient ability to undertake practical reporting 
in a comparatively short time. One week of faithful practice 
at one exercise will avail the student more than months of 
superficial practice at a great many. 

Note. — Wherever a word in the Phonic Exercise has been 
mutilated, or omitted entirely, the student should try, from 
his knowledge of the principles, to supply it. 

18 



198 



MANUAL OF BRACHYGRAPHT. 
DEATH OF LITTLE NELL. 






•V* 



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j r o 



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17 
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L4=...^.. c ..„...r^..-.^.,.^..:...y..7. 

v/*rl A / : ". < V> Jfl ....^ 

•jj^ ;...^.;^...C:... V ..:.. V? 
<J^y^ = .c:...lr... v r..k^.AiiC. /^. = L.V.v = 

i — n.r—^.r^v^c.^^ t ...^. rNc ..K^:„.....> -j. 






Wr 



PHONIC READING EXERCISES. 



199 



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t 



S-Z-. 



./ \ 



-v^ 









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200 



MANUAL OF BRACHYGRAPHY. 



.3 .r°/Z!..S^.Lrl-.2Si 



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<\-^ -^ -f -~y^~ y : s ....... v j — .^_>„.:-?^x 



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— -* **- -V-vi^V 1 -^^ ^/-- 



PHONIC READING EXERCISES. 201 



DEATH OF LITTLE NELL. 

She was dead. 1 No sleep so beautiful and calm, so free 
from trace of 2 pain, so fair to 3 look upon. She seemed a 
creature fresh from the hand of God, and waiting for the 
breath of life ; not one who had lived and suffered death. Her 
couch was dressed with here and there some winter-berries 
and green leaves, gathered in a spot she had been used to 
favor. " When I die, put near me something that has loved 
the light, and had the sky above it always/ ' Those were her 
words. 

She was dead. Dear, gentle, patient, noble Nell 4 was dead. 
Her little bird, a poor, slight thing, which the pressure of a 
finger would have crushed, 5 was stirring nimbly 6 in its cage ; 
and the strong heart of its child- mistress 7 was mute and mo- 
tionless forever. Where were the traces of her early cares, 
her sufferings, and fatigues? All gone. Sorrow was dead, 
indeed, in her ; but peace and perfect happiness were born- 
imaged — in her tranquil beauty and profound repose. And 
still her former self lay there, unaltered in this change. 

1 The period is indicated by a straight line at the end of a sen- 
tence, similar to the consonant chay made double the usual size. 

2 The words q/and of the are indicated by writing the follow- 
ing word closer than usual to the preceding word. 

3 The word to is indicated by writing the word which follows 
it under the line. 

4 Proper names, or words beginning with capitals," are indi- 
cated by two small dashes written parallel to each other, under 
the word. 

5 In the word tl crushed/ 7 the sh loop should be turned on the 
opposite side. 

6 See page 138. 

7 The vowel is separated from the consonant by a short dash 
drawn through the phonic. See page 136. 



18* 



202 MANUAL OF BRACHYGRAPHY. 

Yes 1 ; the old fireside 2 had smiled upon that same sweet 
face, which had passed, like a dream, through haunts of 
misery 3 and care. At the door of the poor school-master on 
the summer evening, before the furnace-fire upon the cold 
wet night, at the same still bedside of the dying boy, there had 
been the same mild, lovely look. 

The old man took one languid arm in his, and held the 
small hand to his breast 4 for warmth. It was the hand she 
had stretched out to him with her last smile, — the hand that 
had led him on through all their wanderings. Ever and anon 
he pressed it to his lips ; then hugged it to his breast again, 
murmuring that it was warmer now ; and, as he said it, he 
looked in agony to those who stood around, as if imploring 
them to help her. 

She was dead, and past all help or need of it. . The ancient 
rooms she had seemed to fill with life, even while her own was 
waning fast, the garden she had tended, the eyes she had glad- 
dened, the noiseless haunts of many a thoughtful hour, the 
paths she had trodden, as it were, but yesterday, 5 could know 
her no more. 

She had been dead two days. They were all about her at 
the time, knowing that the end was drawing on. She died 
soon after daybreak. They had read and talked to her in 
the earlier portion of the night, but, as the hours crept on, 
she sunk to sleep. They could tell, by what she faintly ut- 
tered in her dreams, that they were of her 6 journey ings with 
the old man ; they were of no painful scenes, but of those who 

1 The "word yes is abbreviated by writing the s circle inside of 
the yeh semi-circle. 

2 Some of the phonic characters in the exercises are very im- 
perfect, having been mutilated by the engravers. In the word 
"fireside," the s, which has been cut off, should be supplied by 
the student. 

3 Supply the s circle. 

4 Write " breast" in place of M breath." 

5 " Yesterday" abbreviated to "y ester." 

6 The phonics representing " were of her," are written in the 
wroni; direction. 



PHONIC READING EXERCISES. 203 

had helped and used them kindly; for she often said, " God 
bless you !" with great fervor. Waking, she never wandered 
in her mind but once ; and that was at beautiful music which 
she said was in the air. God knows. It may have been. 

Opening her eyes at last from a very quiet sleep, she 
begged that they would kiss her once again. That done, she 
turned to the old man, with a lovely smile upon her face, 
— such, they said, as they had never seen, and never could 
forget 1 — and clung with both arms about his neck. They did 
not know that she was dead at first. 

She had spoken very often of the two sisters, who, she said, 
were like dear friends to her. She wished they could be told 
how much she thought about them, and how she had watched 
them as they walked together by the river- side. She would 
like to see poor Kit, she had often said of late. She wished 
there was somebody to take her love to Kit, and even then 
she never thought or spoke about him but with something of 
her old, clear, merry laugh. 

For the rest, she had never murmured or complained ; but, 
with a quiet mind, and manner quite unaltered, save that 
she every day became more earnest and more grateful to them, 
she faded like the light upon the summer's evening. 

The child who had been her little friend 2 came 3 there, al- 
almost as soon as it was day, with an offering of dried flowers, 
which he asked them to lay upon her breast. He begged hard 
to see her, saying that he would be very quiet, and that they 
need not fear his being alarmed, for he sat alone by his 
younger brother all day long when he was dead, and had felt 
glad to be so near him. 

They let him have his wish ; and, indeed, he kept his 
word ; and was, in his childish way, a lesson to them all. Up 
to that time the old man had not spoken once, — except to her, 

1 The upper part of the word "forget" has been cut off; it 
should be supplied. 

2 The fr has been cut off. Supply it. 

3 il Came" and "come" are often represented by the consonant 
k, written on the line. 



204 MANUAL OF BRACHYGRAPHY. 

— or stirred from the bedside. But, when he saw her little 
favorite, he was moved as they had not seen him yet, and 
made as though he would have come nearer. 

Then, pointing to the bed, he burst into tears for the first 
time ; and they who stood by, knowing that the sight of this 
child had done him good, left them alone together. Soothing 
him with his artless talk of her, the child persuaded him to 
take some rest, to walk abroad, to do almost as he desired him. 
And when the day came on which they must remove her in 
her earthly shape from earthly eyes forever, he led him away, 
that he might not know when she was taken from him. 

And now the 1 bell — the bell she had so often 'heard by 
night and day, and listened to it with solemn pleasure, almost 
as a living voice — rung 2 its remorseless toll for her, so young, 
so beautiful, so good. Decrepit age, and vigorous life, and 
blooming youth, and helpless infancy, poured forth — on 
crutches, in the 3 pride of health and strength, in the full 
blush of promise, in the mere dawn of life — to gather round 
her tomb. 

Old men were there, whose eyes were dim and senses fail- 
ing ; grandmothers, who might have died ten years ago and 
still been old ; the deaf, the blind, the lame, the palsied, the 
living dead, in many shapes and forms, 4 were there, to see the 
closing of that early grave. Along the crowded path they 
bore her now, pure as the newly-fallen snow that covered it, 
whose day on earth had been as fleeting. 

Under that porch, where she had sat when Heaven in its 
mercy brought her to that peaceful spot, she passed again ; 
and the old church received her in its quiet shade. They 
carried her 5 to an 6 old nook, where she had many and many 

i "The" should be indicated by a small tick joined to "now." 
It has been cut off by the engraver. 

2 Supply " rung" in the phonic exercise. 

3 Supply the words (t in the" in the phonic exercise. 

4 Supply the word "forms" in the phonic exercise. 

5 Supply the word " her." 

6 The words " to an," " to a," and " to the," are indicated by 
writing the following word under the line. 



PHONIC READING EXERCISES. 205 

a time sat musing, and laid their burden softly on the pave- 
ment. The light streamed on it through *the colored window, 
— a window where the boughs of trees were ever rustling in 
the summer, and where the birds sang sweetly all day long. 
With every breath of air that stirred among those branches in 
the sunshine, some trembling, changing light would fall upon 
her grave. 

Earth to earth, ashes to ashes, dust to dust ! Many a young 
hand dropped in its little wreath ; many a stifled sob was 
heard. Some — and they were not a few — knelt down. All 
were sincere and truthful in their sorrow. The service done, 
the mourners stood apart, and the villagers closed round to 
look into the grave before the stone should be replaced. 

One called to mind how he had seen her sitting on that very 
spot, and how her book had fallen on her lap, and she was 
gazing with a pensive face upon the sky. Another told how 
he had wondered much that one so delicate as she should be 
so bold ; how she had never feared to enter the church alone 
at night, but had loved to linger there when -all was quiet, 
and even to climb the tower-stair with no more light than 
that of the moon-rays stealing through the loopholes in the 
thick old walls. 

A whisper went about among the oldest there that she had 
seen and talked with angels ; and, when they called to mind 
how she had looked and spoken, and her early death, some 
thought it 1 might be so indeed. Thus coming to the grave 
in little knots, and glancing down, and giving place to others, 
and falling off in whispering groups of three or four, the 
church was cleared in time of all but the sexton and the 
mourning friends. 

Then, when the dusk of evening had come on, and not a 
sound disturbed the sacred stillness of the place, when the 
bright moon poured in her light on tomb and monument, on 
pillar, wall and arch, and most of all, it seemed to them, upon 
her quiet grave, — in that calm time when all outward things 



Supply the word "it." 



206 MANUAL OF BRACHYGRAPHY. 

and inward thoughts teem with assurances of immortality, and 
worldly hopes and fears are humbled in the dust before them, 
— then, with tranquil and submissive hearts, they turned 
away, and left the child with God. 

Oh ! it is hard to take to heart the lesson that such deaths 
will teach : but let no man reject it ; for it is one that all must 
learn. When death strikes down the innocent and young, for 
every fragile form from which he lets the panting spirit free a 
hundred virtues rise, in shapes of mercy, charity, and love, to 
walk the world and bless it with their light. Of every tear that 
sorrowing mortals shed on such green graves some good is 
born, some gentler nature comes. In the Destroyer's steps 
there spring up bright creations that defy his power ; and his 
dark path becomes a way of light to heaven. 



PHONIC READING EXERCISES. 207 

DEATH OF HAMILTON. 

-- V" -- ■* -"V-ersT^ ^ = SB *~*- J " *""* v—t— 

^i.,. fc ./^.^ 

i ..,.. / \.^ 1 ,5..^..iy ^. .<.,..^..-.. ; ,,..^n 
,.L. v ..^-/i _ 



208 MANUAL OF BRACHYGRAPIIY. 

DEATH OF HAMILTON. 

Ci How are the mighty fallen !" And, regardless as we are 
of common death, shall not the fall of the mighty affect us ? 
A short time since, and he who is the occasion of our sorrows 
was the ornament of his country. He stood on an eminence, 
and glory covered him. From that eminence he has fallen, — 
suddenly, forever fallen. His intercourse with the living 
world is now ended ; and those who would hereafter find 
him, must seek him in the grave. 

There, cold and lifeless, is the heart that just now was the 
seat of friendship ; there, dim and sightless, is the eye whose 
radiant and enlivening orb beamed with intelligence ; and 
there, closed forever, are those lips on whose persuasive ac- 
cents we have so often and so lately hung with transport ! 
From the darkness which rests upon his tomb, there proceeds, 
me thinks, a light in which it is clearly seen that those gaudy 
objects which men pursue are only phantoms. In this light 
how dimly shines the splendor of victory ! — how humble ap- 
pears the majesty of grandeur ! The bubble which seemed to 
have so much solidity has burst; and we again see that all 
below the sun is vanity. 

True, the funeral eulogy has been pronounced, the sad and 
solemn procession has moved, the badge of mourning has al- 
ready been decreed ; and presently the sculptured marble will 
lift up its front, proud to perpetuate the name of Hamilton, 
and rehearse to the passing traveler his virtues. Just tributes 
of respect, and to the living useful ; but to him, mouldering 
in his narrow and humble habitation, what are they ? How 
vain ! how unavailing ! 

Approach, and behold, while I lift from his sepulcher its 
covering ! Ye admirers of his greatness, ye emulous of his 
talents and his fame, approach and behold him now ! How 
pale ! how silent ! No martial bands admire the adroitness 
of his movements ; no fascinated throng weep, and melt, and 
tremble at his eloquence. Amazing change ! A shroud ! a 



PHONIC HEADING EXERCISES. 209 

coffin ! a narrow, subterraneous cabin ! This is all that now 
remains of Hamilton. And is this all that remains of him ? 
During a life so transitory, what lasting monument, then, can 
our fondest hopes erect ? 

My brethren, we stand on the borders of an awful gulf, 
which is swallowing up all things human. And is there 
amidst this universal wreck nothing stable, nothing abiding, 
nothing immortal, on which poor, frail, dying man can fasten ? 
Ask the hero ; ask the statesman, whose wisdom you have 
been accustomed to revere, and he will tell you. 

He will tell you, did I say ? He has already told you from 
his death-bed ; and his illumined spirit still whispers from the 
heavens, with well known eloquence, the solemn admonition : 
— " Mortals hastening to the tomb, and once the companions 
of my pilgrimage, take warning, and avoid my errors. Culti- 
vate the virtues I have recommended ; choose the Saviour I 
have chosen ; live disinterestedly ; live for immortality ; and> 
would you rescue any thing from final dissolution, lay it up 
in God." 



19 



.210 MANUAL OF BRACHYGRAPHY. 

TFIE WIDOW AND HER. SON. 



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216 MANUAL OF BRACHYGRArilY, 

THE WIDOW AND HER SON. 

PART FIRST. 

During my residence in the country, I used frequently to at- 
tend at the old village church. Its shadowy aisles, its molder- 
ing monuments, its dark oaken paneling, all reverend with 
the gloom of departed years, seemed to fit it for the haunt of 
solemn meditation. A Sunday, too, in the country, is so holy 
in its repose ; such a pensive quiet reigns over the face of 
nature, that every restless passion is charmed down, and we 
feel all the natural religion of the soul gently springing up 
within us. 

I do not pretend to be what is called a devout man, but 
there are feelings that visit me in a country church, amidst 
the beautiful serenity of nature, which I experience nowhere 
else ; and if not a more religious, I think I am a better man on 
Sunday than on any other day of the seven. But in this 
church I felt myself continually thrown back upon the world 
by the frigidity and pomp of the poor worms I saw around me. 

The only being that seemed thoroughly to feel the humble 
and prostrate piety of a true Christian, was a poor decrepit 
old woman, bending under the weight of years and infirmities. 
She bore the traces of something better than abject poverty. 
The lingerings of decent pride were visible in her appearance. 
Her dress, though humble in the extreme, was scrupulously 
clean. Some trivial respect, too, had been awarded her, for 
she did not take her seat among the village poor, but sat alone 
on the steps of the altar. 

She seemed to have survived all love, all friendship, all 
society, and to have nothing left her but the hopes of heaven. 
When I saw her feebly rising and bending her aged form in 
prayer,— habitually conning her prayer book, which her palsied 
hand and failing eyes could not permit her to read, but which 
she evidently knew by heart,-— I felt persuaded that the fal- 
tering voice of that poor woman arose to heaven far before 
the responses of the clerk, the swell of the organ, or the 
chanting of the choir. 



PHONIC READING EXERCISES. 217 

I am fond of loitering about country churches, and this 
was so delightfully situated, that it frequently attracted me. It 
stood oh a knoll, round which a small stream made a beautiful 
bend, and then wound its way through a long reach of soft 
meadow scenery. The church was surrounded by yew trees, 
which seemed almost coeval with itself. Its tall gothic spire 
shot up lightly from among them, with rooks and crows gen- 
erally wheeling about it. 

I was seated there one still sunny morning, watching two 
laborers who were digging a grave. They had chosen one of 
the most remote and neglected corners of the church -yard, 
where, by the number of nameless graves around, it would 
appear that the indigent and friendless were hurried into the 
earth. I was told that the new-made grave was for the only 
son of a poor widow. While I was meditating on the dis- 
tinctions of worldly rank, which extend thus down into the 
very dust, the toll of the bell announced the approach of the 
funeral. 

They were the obsequies of poverty, with which pride had 
nothing to do. A coffin of the plainest materials, without 
pall or other covering, was borne by some of the villagers. 
The sexton walked before, with an air of cold indifference. 
There were no mock mourners in the trappings of affected 
woe, but there was one real mourner, who feebly tottered 
after the corpse. 

It was the aged mother of the deceased, the poor old wo- 
man whom I had seen seated on the steps of the altar. She 
was supported by a humble friend, who was endeavoring to 
comfort her. A few of the neighboring poor had joined the 
train, and some children of the village were running hand in 
hand, now shouting with unthinking mirth, and sometimes 
pausing to gaze with childish curiosity on the grief of the 
mourner. 

As the funeral train approached the grave, the parson is- 
sued out of the church porch, arrayed in the surplice, with 
prayer book in hand, and attended by the clerk. The service. 



218 MANUAL OF BRACHYGRAPHY. 



however, was a mere act of charity. The deceased had been 
destitute, and the survivor was pennyless. It was shuffled 
through, therefore, in form, but coldly and unfeelingly. The 
well-fed priest scarcely moved ten steps from the church door ; 
his voice could scarcely be heard at the grave ; and never did 
I hear the funeral service, that sublime and touching cere- 
mony, turned into such a frigid mummery of words. 

I approached the grave. The coffin was placed on the 
ground. On it were inscribed the name and age of the de- 
ceased — " George Somers, aged 26 years." The poor 
mother had been assisted to kneel down at the head of it. 
Her withered hands were clasped as if in prayer ; but I could 
perceive, by a feeble rocking of the body and a convulsive 
motion of the lips, that she was gazing on the last relics of 
her son with the yearnings of a mother's heart. 

The service being ended, preparations were made to deposit 
the coffin in the earth. There was that bustling stir that 
breaks so harshly on the feelings of grief and affection ; di- 
rections given in the cold tones of business ; the striking of 
spades into sand and gravel, which at the grave of those we 
love is of all sounds the most withering. 

The bustle around seemed to awaken the mother from a 
wretched reverie. She raised her glazed eyes, and looked 
about with a faint wildness. As the men approached with 
cords to lower the coffin into the grave, she wrung her hands 
and broke into an agony of grief. The poor woman who at- 
tended her took her by the arm, endeavored to raise her from 
the earth, and to whisper something like consolation — " Nay, 
now— nay, now — don't take it so sorely to heart." She could 
only shake her head and wring her hands as one not to be 
comforted. 

As they lowered the body into the earth, the creaking of 
the cords seemed to agonize her; but when, on some acci- 
dental obstruction, there was a jostling of the coffin, all the 
tenderness of the mother burst forth ; as if any harm could 
come to him who was far beyond the reach of worldly suffer- 






PHONIC READING EXERCISES. 219 

ing. I could see no more — my heart swelled into my throat 
— my eyes filled with tears — I felt as if fwere acting a bar- 
barous part in standing by and gazing idly on this scene of 
maternal anguish. I wandered to another part of the church- 
yard, where I remained until the funeral train had dispersed. 

When I saw the mother slowly and painfully quitting the 
grave, leaving behind her the remains of all that was dear to 
her on earth, and returning to silence and destitution, my 
heart ached for her. What, thought I, are the distresses of 
the rich ? They have friends to soothe — pleasures to beguile 
— a world to divert and dissipate their griefs. What are the 
sorrows of the young ? Their growing minds soon close above 
the wounds — their elastic spirits soon rise beneath the pressure 
— their green and ductile affections soon twine around new 
objects. 

But the sorrows of the poor, who have no outward appli- 
ances to soothe — the sorrows of the aged, with whom life at 
best is but a wintry day, and who can look for no after- 
growth of joy — the sorrows of a widow, aged, solitary, desti 
tute, mourning over an only son, the last solace of her years 
—these are the sorrows which make us feel the impotency of 
consolation. 

It was some time before I left the church-yard. On my 
way homeward, I met with the woman who had acted as com- 
forter ; she was just returning from accompanying the mother 
to her lonely habitation, and I drew from her some particulars 
connected with the affecting scene I had witnessed. 

The parents of the deceased had resided in the village from 
childhood. They had inhabited one of the neatest cottages, 
and by various rural occupations, and the assistance of a small 
garden, had supported themselves creditably and comfortably, 
and led a happy and a blameless life. They had one son, who 
had grown up to be the staff and pride of their age. 

"Oh, Sir !" said the good woman, " he was such a likely lad, 
so sweet tempered, so kind to every one around him, so dutiful 



220 MANUAL OF BRACHYGRAPHY. 

to his parents ! It did one's heart good to see him of a Sun- 
day, dressed out in his best, so tall, so straight, so cheery, 
supporting his old mother to church, — for she was always 
fonder of leaning on George's arm than on her good man's ; 
and, poor soul, she might well be proud of him, for a finer 
lad there was not in the whole country round." 

Unfortunately, the son was tempted, during a year of 
scarcity and agricultural hardship, to enter into the service of 
one of the small craft that plied on a neighboring river. He 
had not been long in this employ, when he was entrapped by 
a press-gang, and carried off to sea. His parents received 
the tidings of his seizure, but beyond that they could learn 
nothing. It was the loss of their main prop. The father, 
who was already infirm, grew heartless and melancholy, and 
sunk into his grave. 

The widow, left lonely in her age and feebleness, could no 
longer support herself, and came upon the parish. Still there 
was a kind feeling toward her throughout the village, and a 
certain respect as being one of the oldest inhabitants. As 
no one applied for the cottage in which she had passed so 
many happy days, she was permitted to remain in it, where 
she lived solitary and almost helpless. The few wants of 
nature were chiefly supplied from the scanty productions of 
her little garden, which the neighbors would now and then 
cultivate for her. 

It was but a few days before the time at which these cir- 
cumstances were told me, that she was gathering some vege- 
tables for her repast, when she heard the cottage door, that 
faced the garden, suddenly opened. A stranger came out, 
and seemed to be looking eagerly and wildly around. He was 
dressed in seaman's clothes, was emaciated and ghastly pale, 
and bore the air of one broken by sickness and hardships. 
He saw her, and hastened toward her ; but his steps were 
faint and faltering: he sank on his knees before her, and 
sobbed like a child. 

The poor woman gazed upon him with a vacant and wan- 



PHONIC READING EXERCISES* 221 

dering eye — "0 my dear, dear mother! don't you know 
your son ! your poor boy George !" It was, indeed, the wreck 
of her once noble lad ; who, shattered by wounds, by sickness, 
and foreign imprisonment, had at length dragged his wasted 
limbs homeward, to repose among the scenes of his childhood. 

I will not attempt to detail the particulars of such a meet- 
ing, where joy and sorrow were so completely blended ; still 
he was alive ! — he was come home ! — he might yet live to 
comfort and cherish her old age ! Nature, however, was ex- 
hausted in him ; and if any thing had been wanting to finish 
the work of fate, the desolation of his native cottage would 
have been sufficient. He stretched himself on the pallet 
where his widowed mother had passed many a sleepless night, 
and he never rose from it again. 

The villagers, when they heard that George Somers had 
returned, crowded to see him, offering every comfort and 
assistance that their humble means afforded. He, however, 
was too weak to talk — he could only look his thanks. His 
mother was his constant attendant, and he seemed unwilling 
to be helped by any other hand. 

There is something in sickness that breaks down the pride 
of manhood ; that softens the heart, and brings it back to the 
feelings of infancy. Who that has suffered, even in advanced 
life, in sickness and despondency — who that has pined on a 
weary bed in the neglect and loneliness of a foreign land — but 
has thought on the mother " that looked on his childhood," 
that smoothed his pillow, and administered to his helplessness ! 

Oh ! there is an enduring tenderness in the love of a mother 
to a son, that transcends all other affections of the heart. It 
is neither to be chilled by selfishness, nor daunted by danger, 
nor weakened by worthlessness, nor stifled by ingratitude. 
She will sacrifice every comfort to his convenience ; she will 
surrender every pleasure to his enjoyment ; she will glory in 
his fame, and exult in his prosperity ; and if adversity over- 
take him, he will be the dearer to her by misfortune ; and if 
disgrace settle upon his name, she will still love and cherish 

20 



222 MANUAL OF BRACHYGRAPHY. 

him ; and if all the world besides cast him off, she will be all 
the world to him. 

Poor George Somers had known well what it was to be in 
sickness, and none to soothe— lonely and in prison, and none 
to visit him. He could not endure his mother from his sight ; 
if she moved away, his eye would follow her. She would sit 
for hours by his bed, watching him as he slept. Sometimes 
he would start from a feverish dream, look anxiously up until 
he saw her venerable form bending over him, when he would 
take her hand, lay it on his bosom, and fall asleep with the 
tranquility of a child. In this way he died. 

My first impulse, on hearing this humble tale of affliction, 
was to visit the cottage of the mourner, and administer pecun- 
iary assistance, and, if possible, comfort. I found, however, 
on inquiry, that the good feelings of the villagers had prompted 
them to do everything that the case admitted ; and as the 
poor know best how to console each other's sorrows, I did not 
venture to intrude. 

The next Sunday I was at the village church ; when, to 
my surprise, I saw the poor old woman tottering down the aisle 
to her accustomed seat on the steps of the altar. She had 
made an effort to put on something like mourning for her 
son ; and nothing could be more touching than this struggle 
between pious affection and utter poverty ; a black ribbon or 
so — a faded black handkerchief — and one or two more such 
humble attempts to express by outward signs that grief which 
passes show. 

When I looked round upon the storied monuments, the stately 
hatchments, the cold marble pomp, with which grandeur 
mourned magnificently over departed pride ; and turned to 
this poor widow, bowed down by age and sorrow at the altar 
of her God, and offering up the prayers and praises of a pious, 
though a broken heart, I felt that this living monument of 
real grief was worth them all. 

I related her story to some of the wealthy members of the 
congregation, and they were moved at it. They exerted them- 



PHONIC READING EXERCISES. 223 

selves to render her situation more comfortable, and to lighten 
her afflictions. It was, however, but smoothing'a few steps to 
the grave. In the course of a Sunday or two after, she was 
missed from her usual seat at church, and before I left the 
neighborhood, I heard, with a feeling of satisfaction, that she 
had quietly breathed her last, and had gone to rejoiu those 
she loved, in that world where sorrow is never known, and 
friends are never parted. 



DANIEL WEBSTER. 

Born upon the verge of civilization, — his father's house 
the furthest by four miles on the Indian trail to Canada,— 
Mr. Webster retained to the last his love for that pure fresh 
nature in which he was cradled. The dashing streams, which 
conduct the waters of the queen of New Hampshire's lakes to 
the noble Merrimac ; the superb group of mountains (the 
Switzerland of the United States), among which those waters 
have their sources ; the primeval forest, whose date runs back 
to the twelfth verse of the first chapter of Genesis, and never 
since creation yielded to the settler's ax ; the gray buttresses 
of granite which prop the eternal hills ; the sacred alternation 
of the seasons, with its magic play on field and forest and 
flood; the gleaming surface of lake and stream in summer ; 
the icy pavement with which they are floored in winter ; the 
verdure of spring, the prismatic tints of the autumnal woods, 
the leafless branches of December, glittering like arches and 
corridors of silver and crystal in the enchanted palaces of fairy 
land — sparkling' in the morning sun with winter's jewelry, 
diamond and amethyst, and ruby and sapphire ; the cathedral 
aisles of pathless woods, — the mournful hemlock, the tl cloud- 
seeking" pine, — hung with drooping creepers, like funeral 
banners pendant from the roof of chancel or transept over the 
graves of the old lords of the soil ; — these all retained for him 
to the close of his life an undying charm. 



224 MANUAL OF BRACHYGRAPHY. 

But though he ever clung with fondness to the wild moun- 
tain scenery amidst which he was born and passed his youth, 
he loved nature in all her other aspects. The simple beauty 
to which he had brought his farm at Marshfield, its approaches, 
its grassy lawns, its well disposed plantations on the hill-sides, 
unpretending but tasteful, and forming a pleasing interchange 
with his large corn-fields and turnip-patches, showed his sensi- 
bility to the milder beauties of civilized culture. 

He understood, no one better, the secret sympathy of nature 
and art, and often conversed on the principles which govern 
their relations with each other. He appreciated the infinite 
bounty with which nature furnishes materials to the artistic 
powers of man, at once her servant and master ; and he knew 
not less that the highest exercise of art is but to imitate, in- 
terpret, select, and combine the properties, affinities, and pro- 
portions of nature ; that in reality they are parts of one great 
system ; for nature is the Divine Creator's art, and art is 
rational man's creation. 

But not less than mountain and plain he loved the sea. He 
loved to walk and ride and drive upon that magnificent beach 
which stretches from Green Harbor all round to the Gurnet. 
He loved to pass hours, I may say days, in his little boat. 
He loved to breathe the healthful air of the salt-water. He 
loved the music of the ocean, through all the mighty octaves 
deep and high of its far-resounding register ; from the lazy 
plash of a midsummer's ripple upon the margin of some oozy 
creek to the sharp howl of the tempest, which wrenches a 
light-house from its clamps and bolts, fathoms deep, in the 
living rock, as easily as a gardener pulls a weed from his 
flower-border. 

There was, in fact, a manifest sympathy between his great 
mind and this world-surrounding, deep-heaving, measureless, 
everlasting, infinite deep. His thoughts and conversation 
often turned upon it, and its great organic relations with other 
parts of nature and with man. I have heard him allude to 
the mysterious analogy between the circulation carried on by 



PHONIC READING EXERCISES. 225 

veins and arteries, heart and lungs, and that wonderful inter- 
change of venous and arterial blood — that miraculous compli- 
cation which lies at the basis of animal life, — and that equally 
complicated and more stupendous circulation of river, ocean, 
vapor and rain, which from the fresh currents of the rivers 
fills the depths of the salt sea ; then by vaporous distillation 
carries the waters which are under the firmament up to the 
cloudy cisterns of the waters above the firmament ; wafts them 
on the drippiDg wings of the wind against the mountain sides, 
precipitates them to the earth in the form of rain, and leads 
them again through a thousand channels, open and secret, to 
the beds of the rivers, and so back to the sea. 

Were I to fix upon any one trait as the prominent trait of 
Mr. Webster's personal character, it would be his social dis- 
position, his loving heart. If there ever was a person who 
felt all the meaning of the divine utterance, " it is not good 
that man should be alone/' it was he. Notwithstanding the 
vast resources of his own mind, and the materials for self- 
communion laid up in the storehouse of such an intellect, few 
men whom I have known have been so little addicted to soli- 
tary and meditative introspection ; to few have social inter- 
course, sympathy, and communion with kindred or friendly 
spirits been so grateful and even necessary. 

He loved to live with his friends, with "good, pleasant 
men who loved him." This was his delight, alike when op- 
pressed with his multiplied cares of office at Washington, and 
when enjoying the repose and quiet of Marshfield. He loved 
to meet his friends at the social board, because it is there that 
men most cast off the burden of business and thought ; there, 
as Cicero says, that conversation is sweetest ; there that the 
kindly affections have the fullest play. 

By the social sympathies thus cultivated, the genial con- 
sciousness of individual existence becomes more intense. And 
who that ever enjoyed it can forget fc the charm of his hos- 
pitality, so liberal, so choice, so thoughtful ? In the very last 
days of his life, and when confined to the couch from which 

20* 



226 MANUAL OF BRACHYGRAPHY. 

he never rose, he continued to give minute directions for the 
hospitable entertainment of the anxious and sorrowful friends 
who came to Marshfield. 

If he enjoyed society himself, how much he contributed to 
its enjoyment in others ! His colloquial powers were, I 
think, quite equal to his parliamentary and forensic talent. 
He had something instructive or ingenious to say on the most 
familiar occasion. In his playful mood he was not afraid to 
trifle ; but he never prosed, never indulged in common -place, 
never dogmatized, was never affected. His range of infor- 
mation was so vast, his observation so acute and accurate, his 
tact in separating the important from the unessential so nice, 
his memory so retentive, his command of language so great, 
that his common table-talk, if taken down from his lips, would 
have stood the test of publication. 

He had a keen sense of the ludicrous, and repeated or list- 
ened to a humorous anecdote with infinite glee. He narrated 
with unsurpassed clearness, brevity, and grace, — no tedious, 
unnecessary details to spin out the story, the fault of most 
professed raconteurs, — but its main points set each in its 
place, so as often to make a little dinner-table epic, but all 
naturally and without effort. He delighted in anecdotes of 
eminent men, especially of eminent Americans, and his 
memory was stored with them. He would sometimes briefly 
discuss a question in natural history, relative, for instance, to 
climate, or the races and habits and breeds of the different 
domestic animals, or the various kinds of our native game, for 
he knew the secrets of the forest. 

He delighted to treat a topic drawn from life, manner, and 
the great industrial pursuits of the community ; and he did 
it with such spirit and originality as to throw a charm around 
subjects which, in common hands, are trivial and uninviting. 
Nor were the stores of our sterling literature less at his com- 
mand. He had such an acquaintance with the great writers 
of our language, especially the historians and poets, as en- 
abled him to enrich his conversation with the most apposite 



PHONIC READING EXERCISES. 227 

allusions and illustrations. When the occasion and character 
of the company invited it, his conversation turned on higher 
themes, and sometimes rose to the moral sublime. 

He was not fond of the technical language of metaphysics, 
but he had grappled, like the giant he was, with its most 
formidable problems. Dr. Johnson was wont to say of 
Burke, that a stranger who should chance to meet him under 
a shed in a shower of rain, would say, " This was an extraor- 
dinary man." A stranger who did not know Mr. Webster, 
might have passed a day with him, in his seasons of relaxa- 
tion, without detecting the jurist or the statesman ; but he 
could not pass a half hour with him without coming to the 
conclusion that he was one of the best informed of men. 

His personal appearance contributed to the attraction of his 
social intercourse. His countenance, frame, expression, and 
presence, arrested and fixed attention. You could not pass 
him unnoticed in a crowd ; nor fail to observe in him a man 
of high mark and character. No one could see him and not 
wish to see more of him, and this alike in public and private. 



228 MANUAL OF BRACHYGRAPHY. 

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PHONIC READING EXERCISES. 231 

EXTRACT FROM THE VICAR OF WAKEFIELD. 

My friends, my children, and fellow-sufferers, when I reflect 
on the distribution of good and evil here below, I find that 
much has been given man to enjoy, yet still more to suffer. 
Though we should examine the whole world, we shall not find 
one man so happy as to have nothing left to wish for ; but we 
daily see thousands who, by suicide, show us they have noth- 
ing left to hope. In this life, then, it appears that we cannot 
be entirely blest, but yet we may be completely miserable. 

Why man should thus feel pain; why our wretchedness 
should be requisite in the formation of universal felicity ; why, 
when all other systems are made perfect by the perfection of 
their subordinate parts, the great system should require for its 
perfection parts that are not only subordinate to others, but 
imperfect in themselves — these are questions that never can 
be explained, and might be useless if known. On this subject, 
Providence has thought fit to elude our curiosity, satisfied with 
granting us motives to consolation. 

In this situation man has called in the friendly assistance of 
philosophy, and heaven, seeing the incapacity of that to con- 
sole him, has given him the aid of religion. The consolations 
of philosophy are very amusing, but often fallacious. It tells 
us that life is filled with comforts, if we will but enjoy them ; 
and on the other hand, that though we unavoidably have 
miseries here, life is short, and they will soon be over. Thus 
do these consolations destroy each other; for if life is a place 
of comfort, its shortness must be misery, and if it be long, 
our griefs are protracted. Thus philosophy is weak ; but 
religion comforts in a higher strain. Man is here, it tell us, 
fitting up his mind, and preparing it for another abode. When 
the good man leaves the body and is all a glorious mind, he 
will find he has been making himself a heaven of happiness 
here : while the wretch that has been maimed and contami- 
nated by his vices shrinks from his body with terror, and finds 
that he has anticipated the vengeance of heaven. To religion, 
then, we must hold in every circumstance of life for our truest 



232 MANUAL OV BRACHYGRAPHY. 

comfort ; for if already we are happy, it is a pleasure to think 
that we can make that happiness unending ; and if we are 
miserable, it is very consoling to think that there is a place of 
rest. Thus, to the fortunate, religion holds out a continuance 
of bliss ; to the wretched, a change from pain. 

But though religion is very kind to all men, it has promised 
peculiar rewards to the unhappy ; the sick, the naked, the 
houseless, the heavy-laden, and the prisoner have ever most 
frequent promises in our sacred law. The Author of our re- 
ligion everywhere professes himself the wretch's friend, and, 
unlike the false ones of this world, bestows all his caresses 
upon the forlorn. The unthinking have censured this as par- 
tiality, as a preference without merit to deserve it. But they 
never reflect that it is not in the power even of heaven itself 
to make the offer of unceasing felicity as great a gift to the 
happy as to the miserable. To the first, eternity is but a 
single blessing, since at most it but increases what they already 
possess. To the latter, it is a double advantage ; for it dimin- 
ishes their pain here, and rewards them with heavenly bliss 
hereafter. 

But Providence is in another respect kinder to the poor than 
the rich ; for as it thus makes the life after death more desira- 
ble, so it smooths the passage there. The wretched have had 
a long familiarity with every face of terror. The man of sor- 
rows lays himself quietly down, without possessions to regret, 
and but few ties to stop his departure : he feels only nature's 
pang in the final separation, and this is no way greater than 
he has often fainted under before : for after a certain degree 
of pain, every new breach that death opens in the constitu- 
tion, nature kindly covers with insensibility. 

Thus Providence has given the wretched two advantages 
over the happy in this life — greater felicity in dying, and in 
heaven all that superiority of pleasure which arises from con- 
trasted enjoyment. And this superiority, my friends, is no 
small advantage, and seems to be one of the pleasures of the 
poor man in the parable ; for though he was already in heaven, 
and felt all the raptures it could give, yet it was mentioned as 



PHONIC READING EXEttCtSES. 233 

an addition to his happiness, that he had once been wretched, 
and now was comforted ; that he had known what it was to be 
miserable, and now felt what it was to be happy. 

Thus, my friends, you see religion does what philosophy 
could never do : it shows the equal dealings of Heaven to 
the happy and the unhappy, and levels all human enjoyments 
to nearly the same standard. It gives to both rich and poor 
the same happiness hereafter, and equal hopes to aspire after 
it ; but if the rich have the advantage of enjoying pleasure 
here, the poor have the endless satisfaction of knowing what 
it was once to be miserable, when crowned with endless felicity 
hereafter ; and even though this should be called a small ad- 
vantage, yet being an eternal one, it must make up by dura- 
tion what the temporal happiness of the great may have ex- 
ceeded by in tenseness. 

These are, therefore, the consolations which the wretched 
have peculiar to themselves, and in which they are above the 
rest of mankind ; in other respects they are below them. They 
who would know the miseries of the poor must see life and 
endure it. To declaim on the temporal advantages they enjoy 
is only repeating what none either believe or practice. The 
men who have the necessaries of living are not poor, and they 
who want them must be miserable. Yes, my friends, we must 
be miserable. No vain efforts of a refined imagination can 
soothe the wants of nature, can give elastic sweetness to the 
dank vapor of a dungeon, or ease to the throbbings of a broken 
heart. Let the philosopher from his couch of softness tell us 
that we can resist all a these : alas ! the effort by which we resist 
them is still the greatest pain. Death is slight, and any man 
may sustain it ; but torments are dreadful, and these no man 
can endure. 

To us, then, my friends, the promises of happiness in heaven 
should be peculiarly dear ; for if our reward be in this life 
alone, we are then indeed of all men the most miserable. 
When I look round these gloomy walls, made to terrify as well 
as to confine us ; this light, that only serves to show the hor- 

21 



234 MANUAL OF BRACHYGRAPHY. 

rors of the place; those shackles, that tyrrany has imposed or 
crime made necessary ; when I survey these emaciated looks 
and hear those groans, oh, my friends, what a glorious ex- 
change would heaven be for these ! To fly through regions 
unconfined as air, to bask in the. sunshine of eternal bliss, to 
carol over endless hymns of praise, to have no master to 
threaten or insult us, but the form of Goodness himself for- 
ever in our eyes ! when I think of these things, death becomes 
the messenger of very glad tidings ; when I think of these 
things, his sharpest arrow becomes the staff of my support ; 
when I think of these things, what is there in life worth hav- 
ing ? when I think of these things, what is there that should 
not be spurned away ? Kings in their palaces should groan 
for such advantages ; but we, humbled as we are, should yearn 
for them. 

And shall these things be ours ? Ours they will certainly 
be if we but try for them ; and what is a comfort, we are shut 
out from many temptations that would retard our pursuit. 
Only let us try for them, and they will certainly be ours ; and 
what is still a comfort, shortly, too ; for if we look back on a 
past life, it appears but a very short span, and whatever we 
may think of the rest of life, it will yet be found of less dura- 
tion ; as we grow older, the days seem to grow shorter, and 
our intimacy with time ever lessens the perception of his stay. 
Then let us take comfort now. for we shall soon be at our 
journey's end; we shall soon lay down the heavy burden laid 
by heaven upon us ; and though death, the only friend of the 
wretched, for a little while mocks the weary traveler with the 
view, and like his horizon still flies before him, yet the time 
will certainly and shortly come when we shall cease from our 
toil ; when the luxurious great ones of the world shall no more 
tread us to the earth ; when we shall think with pleasure of 
our sufferings below ; when we shall be surrounded with our 
friends, or such as deserved our friendship ; when our bliss 
shall be unutterable, and still, to crown all, unending. 



PHONIC READING EXERCISES. 
WESTPORT. * 



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PHONIC READING EXERCISES. 239 

WESTPORT. * 

Nature has done much for this pretty town of Westport ; 
and after Nature, the traveler ought to be thankful to Lord 
Sligo, who has done a great deal too. In the first place, he 
has established one of the prettiest, comfortablest inns in Ire- 
land, in the best part of his little town, stocking the cellars 
with good wines, filling the house with neat furniture, and 
lending, it is said, the whole to a landlord gratis, on condition 
that he should keep the house warm, and furnish the larder, 
and entertain the traveler. Secondly, Lord Sligo has given 
up, for the use of the townspeople, a beautiful little pleasure- 
ground about his house. " You may depand upon it," said a 
Scotchman at the inn, " that they've right of pathway through 
the groonds, and that the marquess couldn't shut them oot." 
Which is a pretty fair specimen of charity in this world — 
this kind world, that is always ready to encourage and ap- 
plaud good actions, and find good motives for the same. I 
wonder how much would induce that Scotchman to allow 
poor people to walk in Ms park, if he had one ! 

In the midst of this pleasure-ground, and surrounded by a 
thousand fine trees, dressed up in all sorts of verdure, stands 
a pretty little church ; paths through the wood lead pleasantly 
down to the bay ; and, as we walked down to it on the day 
after our arrival, one of the green fields was suddenly black 
with rooks, making a huge cawing and clanging as they set- 
tled down to feed. The house, a handsome massive structure, 
must command noble views of the bay, over which all the 
colors of Titian were spread as the sun set behind its purple 
islands. 

Printer's ink will not give these wonderful hues ; and the 
reader will make his picture at his leisure. That conical 
mountain to the left is Croaghpatrick : it is clothed in the 
most magnificent violet color, and a couple of round clouds 
were exploding as it were from the summit, that part of them 
towards the sea lighted up with the most delicate gold and 



240 MANUAL OF BRACHYGRAPHY. 

rose color. In the centre is the Clare Island, of which the 
edges were bright cobalt, whilst the middle was lighted up 
with a brilliant scarlet tinge, such as I would have laughed at 
in a picture, never having seen in nature before, but looked 
at now with wonder and pleasure until the hue disappeared as 
the sun went away. The islands in the bay (which was of a 
gold color) looked like so many dolphins and whales basking 
there. The rich park-woods stretched down to the shore ; 
and the immediate foreground consisted of a yellow corn-field, 
whereon stood innumerable shocks of corn, casting immense 
long purple shadows over the stubble. The farmer, with some 
little ones about him, was superintending his reapers ; and I 
heard him say to a little girl, " Norey, I love you the best of 
all my children !" Presently, one of the reapers coming up, 
says, " It's always the custom in these parts to ask strange 
gentlemen to give something to drink the first day of reaping; 
and we'd like to drink your honor's health in a bowl of coffee." 
fortunatos nimium I The cockney takes out sixpence, and 
thinks that he has never passed such a pleasant half-hour in 
all his life as in that corn-field, looking at that wonderful bay. 
A car which I had ordered presently joined me from the 
town, and going down a green lane very like England, and 
across a causeway near a building where the carman proposed 
to show me " me lard's cafnn that he brought from Rome, 
and a mighty big caflin entirely," we came close upon the 
water and the port, There was a long, handsome pier (which, 
no doubt, remains at this present minute), and one solitary 
cutter lying alongside it ; which may or may not be there now. 
There were about three boats lying near the cutter, and six 
sailors, with long shadows, lolling about the pier. As for the 
warehouses, they are enormous ; and might accommodate, I 
should think, not only the trade of Westport, but of Man- 
chester too. There are huge streets of these houses, ten 
stories high, with cranes, owners' names, &c, marked Wine 
Stores, Flour Stores, Bonded Tobacco Warehouses, and so 
forth. The six sailors that were singing on the pier no doubt 



PHONIC READING EXERCISES. % 241 

are each admirals of as many fleets of a hundred sail that 
bring wines and tobacco from all quarters of the world to fill 
these enormous warehouses. These dismal mausoleums, as 
vast as pyramids, are the places where the dead trade of 
Westport lies buried — a trade that, in its lifetime, probably 
was about as big as a mouse. Nor is this the first nor the 
hundredth place to be seen in this country, which sanguine 
builders have erected to accommodate an imaginary commerce. 
Mill-owners over-mill themselves, merchants over- warehouse 
themselves, squires over-castle themselves, little tradesmen 
about Dublin and the cities over- villa and over-gig themselves, 
and we hear sad tales about hereditary bondage and the ac- 
cursed tyranny of England. 

Passing out of this dreary, pseudo-commercial port, the 
road lay along the beautiful shores of Clew Bay, adorned with 
many a rickety villa and pleasure-house, from the cracked 
windows of which may be seen one of the noblest views in 
the world. One of the villas the guide pointed out with pe- 
culiar exultation : it is called by a grand name — Waterloo 
Park, and has a lodge, and a gate, and a field of a couple of 
acres, and belongs to a young gentleman who, being able to 
write Waterloo Park on his card,, succeeded in carrying off a 
young London heiress with a hundred thousand pounds The 
young couple had just arrived, and one of them must have 
been rather astonished, no doubt, at the " park." But what 
will not love do ? With love and a hundred thousand pounds, 
a cottage may be made to look like a castle, and a park of two 
acres may be brought to extend for a mile. The night began 
now to fall, wrapping up in a sober gray livery the bay and 
mountains, which had just been so gorgeous in sunset ; and we 
turned our backs presently upon the bay, and the villas with 
the cracked windows, and scaling a road of perpetual ups and 
downs, went back to Westport. On the way was a pretty 
cemetery, lying on each side of the road, with a ruined chapel 
for the ornament of one division, and a holy well for the other. 
In the holy well lives a sacred trout, whom sick people 



242 MANUAL OF BRACHYGRAPHY. 

come to consult, and who operates great cures in the neigh- 
borhood. If the patient sees the trout floating on his back, 
he dies ; if on his belly, he lives ; or vice versa. The little 
spot is old, ivy-grown, and picturesque, and I can't fancy a 
better place for a pilgrim to kneel and say his beads at. 

But considering the whole country goes to mass, and 
that the priests can govern it as they will, teaching what 
shall be believed and what shall be not credited, would it not 
be well for their reverences, in the year eighteen hundred and 
forty-two, to discourage these absurd lies and superstitions, 
and teach some simple truths to their flock ? Leave such fig- 
ments to magazine-writers and ballad -makers ; but, corbleu ! 
it makes one indignant to think that people in the United 
Kingdom, where a press is at work and good sense is abroad, 
and clergymen are eager to educate the people, should counte- 
nance such savage superstitions and silly, groveling heathen- 
isms. 

The chapel is before the inn where I resided, and on Sunday, 
from a very early hour, the side of the street was thronged 
with worshipers, who came to attend the various services. 
Nor are the Catholics the only devout people of this remote 
district. There is a large Presbyterian church very well at- 
tended, as was the Established Church service in the pretty 
church in the park. There was no organ, but the clerk and a 
choir of children sang hymns sweetly and truly ; and a charity 
sermon being preached for the benefit of the diocesan schools, 
I saw many pound-notes in the plate, showing that the Pro- 
testants here were as ardent as their Roman Catholic brethren. 
The sermon was extempore, as usual, according to the pre- 
vailing taste here. The preacher by putting aside his sermon - 
book may gain in warmth, which we don't want, but lose in 
reason, which we do. If I were Defender of the Faith, I 
would issue an order to all priests and deacons to take to the 
book again ; weighing well, before they uttered it, every word 
they proposed to say upon so great a subject as that of reli- 
gion ; and mistrusting that dangerous facility given by active 



PHONIC READING EXERCISES. 243 

jaws and a hot imagination. Reverend* divines have adopted 
this habit, and keep us for an hour listening to what might 
well be told in ten minutes. They are wondrously fluent, 
considering all things ; and though i have heard many a sen- 
tence begun whereof the speaker did not evidently know the 
conclusion, yet, somehow or other, he has always managed to 
get through the paragraph without any hiatus, except perhaps 
in the sense. And as far as I can remark, it is not calm, 
plain, downright preachers who preserve the extemporaneous 
system for the most part, but pompous orators, indulging in 
all the cheap graces of rhetoric — exaggerating words and 
feelings to make effect, and dealing in pious caricature. 
Church-goers become excited by this loud talk and captivating 
manner, and can't go back afterwards to a sober discourse read 
out" of a grave old sermon book, appealing to the reason 
and the gentle feelings, instead of to the passions and the 
imagination. Beware of too much talk, parsons ! If a 
man is to give an account of every idle word he utters, for 
what a number of such loud nothings, windy emphatic tropes 
and metaphors, spoken, not for God's glory, but the preach- 
er's, will many a cushion-thumper have to answer ! And this 
rebuke may properly find a place here, because the clergyman 
by whose discourse it was elicited is not of the eloquent dra- 
matic sort, but a gentleman, it is said, remarkable for old- 
fashioned learning and quiet habits, that do not seem to be to 
the taste of the many boisterous young clergy of the pres 
ent day. 

The Catholic chapel was built before their graces the most 
reverend lord archbishops came into fashion. It is large and 
gloomy, with one or two attempts at ornament by way of pic- 
tures at the altars, and a good inscription warning the in-comer, 
in a few bold words, of the sacredness of the place he stands 
in. Bare feet bore away thousands of people who came to 
pray there; there were numbers of smart equipages for the 
richer Protestant congregation. Strolling about the town in 
the balmy summer evening, I heard the sweet tones of a 



244 MANUAL OF BRACHYGRAPHY. 

hymn from the people in the Presbyterian praying-house. 
Indeed, the country is full of piety, and a warm, sincere, un- 
doubting devotion. 

On week-days the street before the chapel is scarcely less 
crowded than on the Sabbath : but it is with women and 
children merely ; for a stream bordered with lime-trees runs 
pleasantly down the street, and hither come innumerable girls 
to wash, while the children make dirt-pies and look on. 
Wilkie was here some years since, and the place affords a 
great deal of amusement to the painter of character. Sketch- 
ing, taut blen que mat, the bridge and the trees, and some of 
the nymphs engaged in the stream, the writer became an ob- 
ject of no small attention ; and at least a score of dirty brats 
left their dirt-pies to look on, the bare-legged washing-girls 
grinning from the water. 

One, a regular rustic beauty, whose face and figure would 
have made the fortune of a frontispiece, seemed particularly 
amused and agacante ; and I walked round to get a drawing 
of her fresh jolly face: but directly I came near she pulled 
her gown over her head, and resolutely turned round her 
back ; and as that part of her person did not seem to differ 
in character from the backs of the rest of Europe, there is 
no need of taking its likeness. 



